Coming Up On Burrunjorsramblesandbabbles

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Okay its an understatement to say that this has been a very hectic and troublesome year for me personally.

Throughout the first three months of this year I suffered a severe bout of depression, one of the worst I have ever experienced in my life.

Tragically my Uncle also passed away in June this year after a heart attack, and another close family member has been diagnosed with a serious illness.

Needless to say I haven’t had as much time to work on this blog, but now after possibly the worst 6 months of my entire life I am ready to resume my work here.

This article will cover what I am going to write about in the up coming months.

The History of N-Space

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About 2 years ago I wrote an article arguing that Classic Doctor Who and New Doctor Who did not take place in the same universe, but that Classic Who did take place in the same universe as various other fictional series and franchises.

I even wrote up a fictional history for them all together called the History of N-Space. However I felt it didn’t work at the time and so I deleted it.

However after the recent female Doctor debacle I have decided that as far as I’m concerned New Who and Classic Who are not canon to each other so this is essentially my head canon. Since according to people like Steven Moffat and Paul Cornell Doctor Who has no canon, then as far as I’m concerned The History of N-Space is as valid as New Who.

I’ve also had a few people telling me they miss the N-Space article, so I have decided to redo it, but hopefully in a much better way than before.

Obviously this means that the history of the Daleks articles which treats all of New Who and Classic Who as canon will not be continued. I won’t be deleting them as they are popular, but they are finished for now.

Don’t worry I won’t be writing anymore articles about how much I dislike the latest few seasons of New Who. I’ve pretty much said all I have to about that, so really there is no need to keep beating a dead horse. Also I hate being negative all the time, so the History of N-Space article will NOT be one bashing New Who in the slightest.

I actually think that splitting New Who and Classic Who into separate universes makes New Who far more enjoyable, as you can appreciate say David Tennant’s excellent performance, and scenes like Rose and the Doctor being on the beach without having to imagine him as being the same character as the older, more mature, asexual character from Classic Who.

The happy couple?

As to which other franchises I believe exist in the same universe as Classic Who, I see it like this.

Classic Who, Dan Dare (the first three versions), Blake’s 7, Godzilla (Showa era), Planet of the Apes and Beneath the Planet of the Apes, Destroy All Humans video game series, Futurama, Quatermass, Prince of Darkness, the comic book Caballistics, Inc and Lost in Space all take place in the same universe in my opinion, as all have had loose crossovers with one another.

Doctor Who and Dan Dare crossed over in a Children in Need special where the Doctor and Dan visited a prison planet containing the Doctors worst enemies and the Mekon.

Blake’s 7 and Doctor Who have had a few crossovers with one another. In the novel Corpse Maker by Chris Boucher, a one off character from Blake’s 7 called  encounters the Voc Robots, Leela and the 4th Doctor. Furthermore in the audio series Kaldor City, which features both Doctor Who and Blake’s 7 character, the main protagonist is implied to be Avon, the main protagonist from Blake’s 7 in disguise!

Classic Who meanwhile had a few subtle crossovers with Quatermass in the story Remembrance of the Daleks. British Rocket Group and Quatermass himself are given a few mentions as real things.

“I wish Bernard were here.”

“British Rocket Group has its own problems”

In Futurama meanwhile the character of the 4th Doctor appears twice as a real person. First in Moebius Dick where he is one of the space travellers devoured by the space whale who are later rescued from its stomach by Leela.

In All The Presidents Heads the 4th Doctor is also briefly seen running back to the TARDIS in the altered timeline.

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The Jupiter 2, the main spaceship from Lost in Space is also among the ships the Space Whale has trapped too, showing that it exists in the same universe as Futurama and therefore Classic Who.

Furthermore Godzilla also appears in Futurama as a real creature too, which once again links Godzilla to Doctor Who. As to which Godzilla it is however, well personally I am going to settle for the Showa era Godzilla.

Aside from the fact that he is my favourite, the Showa era Godzilla series had a crossover with the Planet of the Apes film series. In Godzilla vs Mechagodzilla and Terror of Mechagodzilla the earth is attacked by a race of talking Apes working with a race of mutant men who wear masks made of human skins.

Whilst it is never made clear in the narrative, the intention of Toho was that these were the Apes and the mutant humans from the first two Planet of the Apes movies travelling to the past to change history. There is a slight reference to this in Terror of Mechagodzilla where the aliens mention saving the earth from mankind.

Futurama makes reference to Planet of the Apes having happened in the episode The Late Philip J Fry, so since Planet of the Apes and Godzilla both exist in the same reality as Futurama, that means that it has to be the Showa era Godzilla.

Of course this also means that the last 3 Planet of the Apes movies of the original series are not canon either. I have nothing against them. I think they were all great films, but they cannot be made to fit in with the N-Space timeline. You can rationalise it that the last 3 Apes movies take place in an alternate universe, with a similar history, but ultimately different in other ways.

Destroy All Humans and Cabillistics also contain references to events from Doctor Who stories as though they actually happened.

Prince of Darkness, a classic horror movie by the legendary director John Carpenter was said to have been based on real events, researched by Martin Quatermass, who in publicity material written to accompany the film, was said to be the brother of Bernard Quatermass. Thus as it is linked to Quatermass, then it is linked to Doctor Who too.

Finally the TARDIS also appears in Red Dwarf in a cameo scene.

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Incidentally the cast of Red Dwarf have also said that they want to have a crossover with Doctor Who, though they also said that they wanted to have one of the original Doctors instead.

Red Dwarf Cast: We Want A Doctor Who Crossover

So for all of these reasons and more I personally think that all of these franchises share the same universe as one another and I am going to try and work them all together in one history. I will have to take a few creative liberties with them to make them fit, but by and large I am going to try and stay faithful to every series in order to make them work.

Every Cyberman Story

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Having reviewed every Dalek story, I now intend to do the same for every Cyberman story. We will be looking at the Classic era Cybermen stories only as again I don’t really like to acknowledge New Who as much these days.

Other Non Sci Fi and Fantasy Reviews

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In the last few years this blog has tended to focus more on sci fi and fantasy which are my two favourite genres.

However I’d like to review other non sci fi or fantasy series. I intend to do reviews of various animated series and classic British and American comedy series too.

I want this blog to be able to branch out a bit, though obviously we will still be looking primarily at sci fi and fantasy, but there will be other types of reviews on this blog too.

My Own Fiction

I am going to post my own fiction here too. I already have a website to showcase my fiction, but being the oldest blog, this has the widest reach, so I am going to post them here as well as on my other site.

Thank you for reading and the first article will be up tomorrow.

 

 

 

Why Classic Doctor Who and New Doctor Who Do Not Take Place In The Same Universe

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Okay its no secret that I pretty much HATE all of the New Doctor Who from 2014 on. I think that its makers basically sold us out to a bullying, intolerant, needy ideology and have sunk what was once the most popular and wonderful of sci fi series.

Still in all fairness I don’t think that the New Doctor Who ever really worked as a sequel to the original series. Even in the Tennant era, whilst many fans, including I acknowledge myself, have tried to fit it in with the original. New Who was really always a different show.

Yes okay Classic Who changed over the course of its 26 year run, but never to quite the same extent as New Who. As I have been over many times there is a consistent characterisation overall to the 7 classic era Doctors, which New Who broke practically from the start.

So in this article I am going to argue that New Who and Classic Who take place in two separate universes, with a similar but different history (explaining the presence of the classic era Doctors in the 50th. They are simply alternate counterparts to the classic series versions.)

Obviously this is just my own head canon at this point, but as the likes of Paul Cornell and Steven Moffat have regularly said that Doctor Who has no canon (to cover up their own plot holes) then hey, this is just as valid as anything else.

I am also going to run down why I think this is better not just for Classic Who but New Who as well, and also for the future of the Doctor Who franchise in general.

So lets get started then shall we?

The Point of Divergence

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In my opinion the drastic change in history for the New Who and Classic Who universes occurs in the story The Magicians Apprentice/The Witch’s Familiar.

Here the 12th Doctor went backwards in time and saved a young Davros from a minefield and instilled in him an important lesson, that compassion can be a strength. Davros evidently remembered this enough to programme a concept of mercy into the Daleks, as several Daleks throughout all of New Who have been shown to understand mercy, compassion and pity.

The Metaltron begs the Doctor to show pity when he attempts to kill it, whilst the Stone Dalek begs River Song to show him mercy, and finally Clara is able to say mercy through the Daleks machine in The Witch’s Familiar.

This is of course at odds however with what we see in Classic Who when Genesis of the Daleks states that the first Daleks created by Davros have no concept of pity or mercy. This isn’t just a throwaway line. Its an important plot point in the story, with even Davros at the end realising the horror of what he has created by depriving the Daleks of the ability to feel pity.

Furthermore Classic Who always made a point of showing the Daleks not being able to understand mercy in other stories too. Even when faced with certain death, Daleks in Classic Who NEVER beg for mercy like their Revival era counterparts. They might scream in fear and yell “retreat” but they never beg their enemies to show compassion.

So even already New Who and Classic Who are at odds with one another.

That is unless of course you take them as existing in different universes, with similar but ultimately different histories.

I say that in the New Who Universe which we’ll call M-Space, Davros as a boy wandered into the field by accident where he was rescued by the Doctor, whilst that simple event never happened in the universe Classic Who took place in which we’ll call N-Space.

Maybe in N-Space Davros stayed in that day, rather than going out to play with his friends like in M-Space where he got lost and stumbled into the minefield.

As a result of this the N-Space Davros never met the Doctor as a child and as a result never learned the important lesson about mercy from the Doctor. He continued to think that it was only weakness and so the N-Space Davros removed all sense of pity and compassion from the Daleks

As a result, as we saw in Genesis, the N-Space Daleks eventually overran Davros, and lacking any concept of mercy, shot their creator, though little did they know, he survived and would return to try and take leadership of their race, splitting them into two, which held them back greatly.

In M-Space however though the Daleks still overran Davros, they did not shoot him, as they were able to show some small measure of mercy towards their creator. Instead they enslaved him like in Journey’s End and The Magicians Apprentice.

As a result of this the M-Space, the Daleks became far more advanced and powerful.

They were able to make use of Davros’ intellect throughout their history, and they also did not have to deal with Davros splitting their race in two either.

Of course Davros at some point maybe did try and escape and create new Daleks, (which led to an alternate version of the events of Revelation of the Daleks as seen in The Magicians Apprentice.) Ultimately however they were able to recapture him, and his attempts to create a new Dalek faction never got off the ground in M-Space.

As a result of this, the Time Lords of M-Space became more scared of the Daleks and the two races were locked in a conflict of some kind before the Doctor even left Gallifrey. This explains why according to New Who the Doctor left because of a prophecy about a Dalek/Time Lord hybrid, whilst in Classic Who he had no fucking idea who they were in the first Dalek story.

In order to combat the Daleks, the Time Lords technology advanced (including finding the way to bring the dead back) and they even modified their bodies too. Finding a way to make regeneration into a weapon for example (explaining why it blows shit up in New Who.)

These modifications to their bodies however had a number of side effects, including gender bending and also making the incarnations of a Time Lord more radically different to each other. Naturally Time Lord society began to accommodate those differences, leading to different attitudes towards regeneration from the Time Lords in N-Space.

Of course this led to various other changes throughout the history of both universes which we will look at here.

1/ The Cybermen

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The Cybermen in Classic and New Who are not compatible with one another in many ways.

To start with in the 1966 story The Tenth Planet, the Cybermen are shown to invade the earth in the year 1986. Their invasion spreads out all over the world, they attack every major city, and their planet appears in the sky which is on every major news station.

The event isn’t covered up of course, and later stories set in the future show the Cyber invasion having become established history.

From The Moonbase set in the 21st Century.

“There were Cybermen every child knows that, but they died out ages ago.”

In New Who however nobody knows who the Cybermen were by the early 21st century, before the invasion of Canary Wharf which happens in 2006 or 7.

Now you might be thinking that the Tenth Planet jars with what we see of the earth in later stories of the Classic Era where nobody knows about the Cybermen, but it doesn’t.

The last companion before Ace to come from contemporary earth is Peri, who is said in Attack of the Cybermen to come from before the invasion in 1986. Ace meanwhile in Dragonfire was said to have been whisked away to a far away planet 18 months ago.

Assuming that Ace comes from modern earth (which there is nothing to contradict.) Then this would mean Ace was whisked away in 1985 as Dragonfire was broadcast in 1987, meaning that she was whisked away before the Cyber invasion, explaining why she doesn’t know the monsters in Silver Nemesis.

Battlefield and Survival, could easily take place in 1985, or even in 86 before the Cyber invasion which happened in December 1986.

Silver Nemesis meanwhile is said to take place in 1988, but to be fair there is nothing in that story to suggest that everyone else apart from Ace isn’t aware of the Cybermen. Indeed the Nazis do seem somewhat familiar with them, and nobody else meets them in the story to conform whether humanity is familiar with the Cybermen or not, so it is just about possible to fit the Tenth Planet in with later Classic Who stories.

It is not possible however to fit it in with New Who. In New Who, nobody knows about Aliens in Rose set in 2005, and Rose is show to be explicitly unaware of the Cybermen in Dalek.

On top of this technology in the Tenth Planet was shown to be much more advanced than technology on earth in the New Series. Now again fair enough, technology in later 80s Classic stories is not as advanced either, however this can be explained away by the fact that all of the later 80s Classic Who stories are set in little remote, poor, rundown areas, like Silver Nemesis, Survival, Battlefield, Attack of the Cybermen etc.

The technology for the Tenth Planet does actually fit in reasonably well with stories both before and after it. In the Pertwee era UNIT stories that we know took place only a decade or so before The Tenth Planet, the technology is on a similar level. (In both the early Pertwee stories and The Tenth Planet, mankind has developed spaceships far in advance of what we have even today that can take human beings to planets like Mars and back.)

In Power of the Daleks meanwhile mankind has set up various colonies on other planets by the 2020s, to the point where one colony on Vulcan can easily be forgotten about and overlooked. Furthermore according to the Chase mankind has robots that are advanced enough to be indistinguishable from human beings!

With New Who however we see stories set in big cities, and secret military compounds designed to take on alien threats like Torchwood, and the government in the 21st Century, 20 years after the events of The Tenth Planet, and the technology still isn’t as advanced as it is in the Tenth Planet or even certain Pertwee stories like The Ambassadors of Death.

Also according to New Who the first ever colony established on another world was on Mars by the 2050s and the destruction of this single colony was a huge event in the history of mankind. Furthermore it was only after the destruction of Bowie base one, that mankind would leave the solar system. How does this mesh with Power of the Daleks where mankind had various colonies on planets outside of the solar system by 2020, to the point where one could go missing and nobody even noticed!

Classic Who also established that the Cybermen were ONE race who came from the Planet Mondas. Originally they were a vast intergalactic power until their home planet was destroyed. Most of the Cybermen perished when Mondas exploded, but a few survived and colonised Telos, wiping out its inhabitants the Cryons.

A major plot point of the Cybermen’s story arc is that they are a unique race, teetering on the verge of extinction. If they are wiped out there will be no more, hence their catchphrase “We Will Survive!”

New Who meanwhile says that the Cybermen were never a race, rather they were the collective name given to various humanoid species that had transformed themselves into machine creatures.

The Doctor states that the different Cybermen originated almost wherever there were people, and goes on to list worlds that developed their own Cybermen independently from one another, including Mondas, Telos, and earth.

This makes no sense of course in regards to old who. Old Who states that the last of the Mondasian Cybermen moved to Telos and wiped out its native life forms, whilst New Who says that they developed on Telos independently from the ones on Mondas?

See here.

Classic Who

CYBERCONTROLLER: We know your intelligence.

DOCTOR: Oh, thank you very much. Ah yes the lunar surface.

CYBERCONTROLLER: Our machinery had stopped and our supply of replacements had been depleted.

DOCTOR: So that’s why you attacked the Moonbase.

CYBERCONTROLLER: You had destroyed our first planet and we were becoming extinct.

LYTTON: Telos is the Cybermen’s home planet.

DOCTOR: Uh-huh adopted planet. You’d have liked Telos Peri, in the old days when the Cryons were in residence. They were the indigenous population. Until the Cybermen wiped them out.

LYTTON: They had nowhere else to go.

DOCTOR: Oh for heavens sake man, the universe is littered with unpopulated planets.

PERI: Well why not on their own planet. I assume they had one. What’s the matter?

DOCTOR: Mondas the Cyber planet was destroyed.

New Who

DOCTOR: They (Cybermen) always get started. They happen anywhere there’s people. Mondas. Telos. Earth. Planet 14. Marinus. Like sewage, smart phones and Donald Trump. Some things are just inevitable.

DOCTOR: People get the Cybermen wrong. There’s no evil plan, no evil genius. Just parallel evolution. 

This is a complete contradiction. Now according to the Doctor there were people on Telos who turned themselves into Cybermen independently from the ones on Mondas.

What about the non human aliens, the Cryons, who the Mondasian Cybermen wiped out to steal their home planet, whose history the Doctor knew (and who he felt passionate about) and who he met? Is the 12th Doctor saying that the Cyrons turned themselves into Cybermen now?

Also if the Cybermen sprung up on various worlds, why were the Mondasian Cybermen nearing extinction in stories like Tomb of the Cybermen? Surely they must have known that there were various other Cyber factions out there, and that according to the Doctor they would always spring up sooner or later?

Also the recent two parter World Enough and Time/The Doctor Falls, featured a sort of origin story for the Cybermen that contradicted The Tenth Planet.

According to this two parter the Cybermen had the power to fly and shoot laser beams from their bodies at the start of their development. In that case, why the hell did we not see the Cybermen in the Tenth Planet display any of these powers?

Once again this isn’t just a minor detail that New Who got wrong. The entire point of the Cybermen in the Tenth Planet is that they still have some human components. They are a mixture of man and machine. They have human hands, they still have names and individual identities like Krang etc.

However according to New Who, before even leaving the place they were created, the Mondasian Cybermen transformed into complete machine creatures?

In short the New Who Cybermen are the complete opposite to the original in almost every way. One’s entire story arc revolves around them being a unique race, nearing extinction, the other are an idea that originates on various different worlds. One was known to mankind in 1986, the other weren’t etc.

There’s no way to reconcile them both.

The Master

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The villain to suffer the most from series to series. The John Simm Master obviously wasn’t quite as terrible as Michelle Gomez version. He did carry on certain aspects of the villains personality like his lust for power, whilst Gomez was just a completely different character in every conceivable way.

Still again much like with the Cybermen, the Master even before the SJW pandering began was never really compatible with his classic era counterpart.

The Master in Classic Who was originally stated to be a renegade Time Lord who sought to conquer the galaxy because he believed that under his rule, things would be better. He believed that using his advanced intellect he could cure diseases, avert major disasters, end inequality, and protect planets like earth (that he had a particular fondness for, much like the Doctor.)

He was willing to kill, even billions of people to achieve this, but he initially saw his crimes as being for a greater good. In fact he saw the Time Lords as the villains, as they had the power in his mind to change history for the better, establish a peaceful empire that holds all of the other worlds in line rather than let them destroy each other wars, and cure all of the ills that affect primitive planets like earth.

The Master it was also established was the Doctors friend back on Gallifrey, however their friendship was not that close.

In The Five Doctors when the First Doctor (played by stand in Richard Hurndall) meets the Master he doesn’t even recognise him!

Granted the Master is in a new body, but even then, when the Master tries to jog the Doctors memory, the First Doctor still fails to recall their friendship and later simply refers to him as a villain and a strange fellow, showing that it clearly wasn’t that important a relationship in either men’s lives.

In fact its only mentioned as having been friends years ago in ONE story, The Sea Devils. That’s literally it. In every single other story the two only ever refer to each other as enemies. Even in the Five Doctors, the Master doesn’t introduce himself as an old friend of the first Doctor, simply as having gone to the Time Lord Academy at the same time as he did. (The Five Doctors was written by the co-creator of the Master, Terrance Dicks who not surprisingly, hates Missy with a vengeance.)

When the Doctor and the Master first meet on screen in Terror of the Autons, its obvious that neither have that high an opinion of the other. Still the Master does think that the Doctor can perhaps be a potential ally. He is the only other Time Lord seemingly that isn’t content to just sit back and observe the universe. The Master clearly hopes that the Doctor can help him build his better galaxy in his earliest stories like Colony in Space.

When it becomes apparent to the Master that the Doctor doesn’t share his grand vision for the universe, he sees him as his greatest threat and tries to destroy him above all else. At no point does the Master show hesitation at killing the Doctor because of their past friendship.

The Master also is quite insecure about the Doctor’s intelligence too. As the Doctor is the only other renegade Time Lord whose reputation in some respects outshines him, then The Master is desperate to prove he is superior. We see this in The Mind of Evil when the Masters worst fear is a giant Doctor laughing at him!

The more the Doctor foils the Masters plans, the more the Master comes to genuinely hate the Doctor to the point where it becomes his main desire to not just destroy the Doctor, but humiliate, and torture him.

The Master’s intense hatred of his foe, coupled with an accident that reduces him to his emaciated form in the Deadly Assassin, pushes the villain over the edge to become a vicious, deranged, bitter lunatic. The later Masters are shown to kill for no reason other than their own sadistic cruelty, and are more unstable, vicious characters. They still desire ultimate power however. So much so that in Logopolis, the Master gambles with the fate of the universe itself to gain control over it.

However the key difference is that the likes of Ainley and the Burned Master have dropped the seemingly altruistic facade that the Delgado Master played up in stories like Colony in Space. They want power just for their own glory.

The Doctor meanwhile in turn always views the Master with contempt. He never shows any affection for him. He only mentions their friendship in The Sea Devils, and the rest of the time he not only considers the Master evil and responsible for his actions, but tries to kill him.

In Terror of the Autons, the Doctor is perfectly happy for UNIT to shoot the Master.

In The Mind of Evil, even when the Master has agreed to leave the earth, the Doctor still tries to kill him as he doesn’t want him loose in the universe hurting other worlds. He tries to kill the Master by trapping him in an area that is about to be hit by a missile (using a device that quite literally cripples the Master with his own fear.) He is later absolutely devastated when the Master escapes.

In The Claws of Axos, the Doctor tricks the Master into thinking that he wants to leave humanity to be consumed by the Axons and get revenge on the Time Lords, so that he can trap both the Master and the Axons in an eternal time loop where they will be forced to live the same moment over and over again forever. The Master however catches on to what the Doctor is doing in time and escapes, though the Doctor after successfully trapping the Axons, believes that he trapped the Master too, and is happy about it.

In the Daemons the Doctor compares the Master to Hitler and Gengis Khan!

In The Deadly Assassin meanwhile the Doctor boots a dying Master into a bottomless pit. He later tells the Time Lords that the Master is the one person in all of creation that he would actually wish death on as he is the quintessence of evil.

In Keeper of Traken the Doctor with Adric and Nyssa’s help destroys the Masters TARDIS and seemingly kills him in an inferno.

In Castrovalva the Doctor leaves a pleading Master to be torn to pieces by his own followers in a place that fades from existence. He later says that he hopes the Master is finished for good this time.

In The Five Doctors, the third Doctor, against Sarah Jane’s protests leaves the Master to be killed by the Cybermen. He also states that the idea of the Master helping him is the biggest pile of rubbish he has ever heard in his life!

The Fifth Doctor similarly leaves the Master in the care of the Cybermen and shows no remorse for it “Well if he survived I’ll say sorry.”

In Planet of Fire the Doctor burns the Master to ashes as he begs for mercy.

In The Two Doctors, the Doctor seals the Rani and the Master in a TARDIS with a hungry Tyrannosaurus Rex that’s about to eat both of them!

In Trial of A Time Lord, the Doctor tells the Time Lords (who are known for not only killing their enemies, but erasing them from history) to do what they want with the Master, and only makes a case for Glitz.

In Survival the Doctor nearly bashes the Masters head in with a rock, and only relents when he realises the Cheetah virus will consume him if he carries out any act of violence.

There’s really very few instances where the Doctor is not willing to kill the Master. In The Time Monster, the Doctor pleads for the Master to not be condemned to an eternity of torture at Chronos’ hands. Later when Jo asks him why she showed mercy, the Doctor tells her flatly that he wouldn’t want to condemn anyone to an eternity of torture, even the Master, his worst enemy.

There are a few more instances of the Doctor not killing the Master when the latter is unarmed, but again this doesn’t demonstrate any affection for the villain. He also has a trouble killing Davros, and even the Daleks when they are unarmed. The Doctors moral code only ever allows him to kill in self defence. One could argue however that the Master is the only villain he makes an exception for, including even Davros.

In Resurrection of the Daleks and in The Mind of Evil, the Doctor comes to the conclusion that Davros and the Master must both be killed for the greater good of the universe. When it comes to Davros however, he finds he is unable to just shoot him in cold blood, whilst with the Master as we have seen he went through with it without a seconds thought or regret, and was furious when he found out he survived!

The Doctor and the Master in Classic Who are the bitterest of enemies. They can never completely triumph over the other. The Doctor may stop the Master from taking over the earth, but he never stops him from destroying innocent lives, and never is even able to bring him to justice.

Their friendship which was a very minor part of their relationship, was really more of an ironic echo than anything else.

In New Who meanwhile the Master was said to have been a psychopath since he was a child and was forced to stare into the untempered schism. Since that day he heard a drumming in his head that tormented him and drove him insane.

The Doctor in New Who as a result of this does not view the Master as evil. He thinks had it not been for the drumming in his head he could have been a force for good in the universe. The Doctor and the Master according to New Who had a very intense friendship when they were young.

The Doctor in both his Twelfth and Tenth incarnation regularly states that the Master was his absolute best friend, and possibly even his soul mate. The two even planned to elope throughout the universe together when they were young back on Gallifrey, but for some reason it never happened.

The Doctor is never willing to kill the Master. In fact he actively saves him/her many times. Even when killing the Master will bring all of humanity back after being turned into clones of the Master, the Doctor refuses to kill him, effectively putting the Master above 7 billion people.

The Doctor is also shown to break down into tears when he believes that the Master has died too.

There is also a sexual aspect to the Doctor and the Masters relationship too in the revival, which becomes more obvious after the Master has turned into a woman.

Finally whilst the Simm Master is shown to have a desire to rule, Missy has no such motive. In fact Missy outright gives up a chance for ultimate power just to win her “boyfriend” back, telling him that she doesn’t need an army.

There is no way you can reconcile these two characters as being the same in terms of history, relationship with the main hero, and characterisation.

Why did the Delgado Master never mention the drums in his head? John Simm never shuts up about them.

Also why did all 7 of the Classic era Doctors view the Master as evil and not some poor lost soul, like Tennant. Tennant tells the Simm Master that he doesn’t really want to hurt people, and that if he would just let him help, then the Master could be good. Similarly Capaldi’s Doctor spends an entire year trying to rehabilitate Missy.

Why did the previous Doctors never try and get through to the Master? Why did they view him as being no different to Hitler and go out of their way to murder him?

Why did the first Doctor not remember his friendship with the Master? Apparently the whole reason he was going to run away was so he could spend time with this guy?

Why was there never any hint of romance between the Classic Doctor and Master (and there wasn’t.)

The Classic Masters entire story arc where we see him descend from a power hungry sociopath to a bitter psychopath doesn’t make any sense either if you take the drums origin story.

In Logopolis the Doctor says to the Master with genuine shock “you’re mad” when he sees how he is willing to take such a huge risk in gaining power, showing how the Master is different to how the Doctor remembers him. Again however according to New Who the Master was always a lunatic?

The only explanation that makes any sense is that they are two different characters.

The Great Intelligence

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The villain who has changed the most over the course of old and new who. In the original series the Great Intelligence was said to be an alien that came from another universe.

He first came to our reality when a Tibetan monk was mediating and encountered the monster on the astral plan. The Intelligence then hitched a ride via the monk to our universe and took him over.

The possessed monk then spent the next 300 years not only building Yeti robots as his army, but a machine that would allow the GI to fully manifest in our universe. The GI is foiled in this plan by the Second Doctor in the 1930s meaning that it came to earth at some point in the early 1600s.

The Intelligence returns many decades later with new and improved Yeti robots in an attempt to drain the Doctors mind. Though it is defeated, it still manages to escape into space. The Intelligence is shown to be able to possess people. Its true form is nothing more than a voice, and it is a cold and logical creature. It dismisses emotions like revenge as petty, wants to gain knowledge as it believes it is power, yet is also shown to be somewhat cowardly, shrieking in panic when the Doctor makes plans against it.

In New Who meanwhile the Great Intelligence was created from the mind of Professor Walter Simeon in the late 19th Century. Thanks to his experiments it was able to live beyond him. It would always assume his form, it did not have the power to possess people, and it was a highly emotional creature who was shown to have a cruel sense of humour, and enjoyed torturing the Doctor.

Ultimately the New Who Great Intelligence kills itself to get back at the Doctor.

There is no way the GI from old who can be the one from the revival. To start with their origins are completely contradictory to one another. One is an alien from another universe, the other the creation of a mad human. One was in Tibet from the 1600s to the 1900s, the other was in London, unable to leave a tank in the late 19th century.

One was just a disembodied voice, the other always assumed the form of Simeon. One was cowardly, put its survival above all else, was generally cold and logical and sought power, the other was sadistic, vengeful and killed itself to take down the Doctor!

Hell even their minions were different. The GI from Old Who had a fondness for its Yeti robots and always used them, whilst the New Series GI never did.

They are completely different villains other than being a similar idea of a disembodied spirit.

Of course the real reason that they are so different was much like with the Master and the Cybermen, the writers of New Who didn’t give a shit about trying to actually write the villain they were supposed to. They simply wanted to write their own character, but slapped the name of a more famous villain to make them more popular (in the case of the GI it was clearly to cash in on the upcoming release of the then recently discovered Web of Fear.)

The Daleks and Davros

Image result for the Daleks and Davros

The Doctors two greatest enemies, the Daleks and the Davors have definitely been handled the best out of all of the icons of the show in the revival (including even the dear old Doctor himself.)

Still there are a few discrepancies between the old Daleks and the new ones. As I have been over the New Daleks whilst still monsters, at least understand what pity is and can even plead for it, whilst the old Daleks are utterly devoid of even the tiniest bit of compassion.

Also the home planet of the Daleks, Skaro was completely and utterly destroyed in Remembrance of the Daleks when the Doctor caused Skaro’s sun to blow up and consume it.

In the Revival meanwhile it is said that Skaro was ravaged during the time war, but not completely destroyed and then later rebuilt.

Also Davros by the time of Remembrance had upgraded himself into the form a Dalek Emperor, whilst in the revival in stories set after Remembrance he is still in his usual form.

Furthermore as we have been over the Doctors relationship with the Daleks doesn’t match up if you take New Who into account. According to the hybrid story the Doctor ran away because he was scared after reading about a prophecy that the Daleks and the Time Lords would produce a hybrid. So he must have been aware of the Daleks then before he first met them according to Classic Who in the Mutants?

Finally even the Time Lords had no idea who the Daleks were before the events of the War Games when the Doctor brought the monsters to their attention, whilst New Who has the Time Lords being terrified of them before the Doctor even ran away.

The Doctor

Image result for William Hartnell Billie Piper

Yes the main character himself across both series seems like a totally different person (more so than usual.)

Now a lot of people will try and justify this with that old mantra “Doctor Who is all about change, so all change is good”. Well again I say that is as moronic a statement as saying that the show can never change.

Doctor Who has a flexible format that can allow it to change if it needs too, but that doesn’t mean that it has to. Each change must be justified, hence why things like Colin Bakers coat that were just done on a whim were crap.

Also the character of the Doctor as I have explained many times can NOT be anyone. There is a definite template to his personality that defines the Doctor as a character. If there wasn’t then he wouldn’t be the Doctor, he’d just be a name. The job of an actor or writer is to try and do something different within that template, which is true in many ways of every iconic character that is reinterpreted again and again.

Now whilst it would be wrong to say that New Who has completely broken that template, at the same time I think its fair to say that a lot of the time, not only is it hard to imagine the New Who Doctor as being the same character as the original, but you’d laugh.

Take a look at the Doctors morality. In Classic Who the Doctor has a very particular moral code where he will kill if he has to, but prefers to find peaceful solutions. He has no affection for any villain he faces (as we have been over he is more than happy to kill the Master in almost every confrontation.)

He also shows no quams about killing human villains compared to killing monsters either as seen when he poisons Professor Solon. The only times the Classic era Doctor shows hesitation in murdering an enemy is if they are unarmed and it is not in self defence. This can be seen in Resurrection of the Daleks when he refuses to shoot Davros, or Frontier in Space when he tells the earth men they can’t shoot the Master as he is unarmed, or even in Genesis of the Daleks where he memorably shows hesitation at wiping the Daleks out when they are defenceless and at their point of birth.

Of course there are a few exceptions to this, where the Doctor will murder a villain he deems to be too big a threat to the rest of the universe (ironically most instances of this involve the Master such as in The Mind of Evil and Planet of Fire and The Deadly Assassin.)

Still overall the Doctor is more than willing to kill, and he will use any type of weapon to do it. Guns, swords, sonic lances, high explosives, poison, acid, electricity, feeding his enemies to animals, he’ll even beat villains to death with blunt instruments. The Doctor never demonstrates any particular hatred of guns either. In fact in some stories he seems to be quite the gun buff.

He mentions having several vintage gun collections to Steven in The Gun Fighters, and scolds Steven for not being careful with his favourite gun. He also mentions building a gun in his workshop in The Invasion of Time, and in The Talons of Weng Chiang he demonstrates impressive knowledge on fire arms in general. Finally in The Visitation he even mentions having a gun making him feel quite comfortable.

Of course again ultimately the Doctor in the classic era is a scientist, not a soldier, so he doesn’t carry guns with him all the time, and he finds violence distasteful

In the Revival however, to start with the Doctor refuses to use guns under any circumstances. (There are a few instances where he will pick up a gun in desperation, but even then he never actually uses it against another life form.)

The New Who Doctors hatred of guns is comparable to Batman in that both will refuse to use guns, or allow others beside them to use guns in a situation where they literally have no choice. Examples of this can be seen in the Tenth Doctor refusing to allow Jack to use a gun on hordes of Toclafane about to strike down on Jack, Martha and the Doctor himself. The Doctor also chastises UNIT for using guns against the Sontarans, gun toting monsters who could easily vaporise them. He also shouts at his clone not to use a gun on Davros and the new Dalek empire, seconds away from their bomb which is about to destroy every single universe going off! Then of course there is the Tenth Doctor refusing to use Wilf’s gun to stop the Master and save 7 billion people.

Finally there is this notorious moment where the Tenth Doctor refuses to shoot the man who killed his own daughter and outright says that he never, ever would shoot anyone, and that the Hath and humans should follow his example.

See what I mean? You laugh when you think of Tennant as being the same character as the first 7 Doctors.

This kind of hypocrisy isn’t limited to David Tennant either. Peter Capaldi’s Doctor similarly is shown to have a distaste for soldiers, which makes no sense considering the Classic era Doctors best friend was a soldier.

Also the Twelfth Doctor acts as though having to shoot Missy will damn his soul forever? Why would killing the Master do that, but not poisoning Solon, or ageing the Borad to death, or throwing Magnus Creel into a machine that slowly drains his bodily fluids and turns him into a burnt out husk, or blowing up Skaro  or smashing a guys head in with a shovel, or using Aggedor to maul Eckersly to death, or shooting the Cyber leader to death, after choking him with gold?

Answer its not. Ironically Missy deserved it more than ALL of those characters, as she’s killed more than all of those villains combined!

Of course this was never a problem in Classic Who as the Doctor did try and kill the Master all the time, in as vicious ways as those other villains. The wiley bastard just always managed to slip through the net. Still if you go by the New series, then the Doctor is a hypocrite and a racist.

The Doctors attitude towards regeneration, as well as regeneration in general in New Who are polar opposites too.

In the Classic era NONE of the Doctors viewed regeneration as death. They all simply viewed it as an advanced form of healing where the Doctors body broke down, and repaired itself, but in doing so, changed appearance.

Obviously his personality was affected by both the trauma of changing appearance, and also simply from living in a different body, but he never acted as though he wasn’t the same man underneath. In fact far from it.

In Caves of Androzani, the Fifth Doctor makes a distinction between regeneration and death to his companion Peri. In The War Games, though the Second Doctor is annoyed at being forced to regenerate, he does not treat it as a death. He refers to it as a change of appearance and isn’t that bothered when the Time Lords offer him a choice of his next appearance.

In the revival however every incarnation of the Doctor has treated regeneration as a death. They all say that everything they are dies, and some new man goes sauntering off and they are dead. They all fear regeneration, though 11 puts on a braver face than 10 and 12 (which wouldn’t be hard lets be honest.) He still treats it as a death and even says goodbye to Clara, which he shouldn’t do if he is still 12.

The idea of all the incarnations of a Time Lord makes zero sense when applied to Classic Who. Why was the Second Doctor more bothered about being fat than dying? Why did the Master try and prolong his life by stealing regenerations? If each incarnation is a different person, then why the hell would he bother? He’ll die once he regenerates anyway?

Also why did the Doctor and Romana refer to her regeneration as a change of body “you can’t go around wearing copies of bodies?”

Also why did the Fifth Doctor and the Seventh Doctor both go over old times with the Brigadier? They never met him. If we go by New Who, then it was some other man who died ages ago. The Brig should really not be of any importance to the McCoy or Davison Doctor.

Also in New Who it was said that the Doctor can only regenerate when he is mortally wounded, but if he dies before the process can begin then he will die for good.

In Classic Who however, the first, third, fifth, sixth and seventh Doctors ALL died, and were even dead for a few minutes before regenerating. In fact the fourth and second Doctors were the only two who were still awake.

Also in the revival a Time Lords regeneration is often shown to blow up its surroundings most of the time, which never happened or was discussed as a possibility in Classic Who. (You’d think that he would have warned Ben and Polly, Sarah and the Brig, Teegan, Nyssa and Adric, and Peri all of whom would have been killed if ANY of the first 5 Doctors had regenerated like 10, 11 and 12 did.

Also why did regeneration always look different in the original series? The directors and producers made a point of this, that each regeneration, much like each Doctor was different. In New Who however the reverse is true and each regeneration not just for the Doctor, but every time lord looks the same.

Also the Doctors origin and story arc of becoming a hero in New Who is different to what we saw in Old Who.

In Old Who we saw Hartnell gradually become more heroic over the course of three years, whilst in New Who the Doctor says that he became a hero when he chose to call himself the Doctor as he made a promise to never be cruel or cowardly again.

Yeah I don’t think you can say the Doctor stopped being an asshole after he chose to call himself Doctor!

Then of course there is the major oversight in Moffat’s part by having the Classic era Doctor flee Gallifrey because he is terrified of a prophecy involving the Daleks, and the Classic era Doctor not meeting them until well after he has left.

Also even just in characterisation and behaviour, then the New Who Doctors never really meshed with the old.

All of the original 7 Doctors were portrayed as much older, wise, colder and level headed characters. The Doctor was very much the epitome of the stiff upper lip type of hero in Classic Who. We never saw him cry over the entire course of the 26 years, he never completely lost his cool. He’d get angry sure, but he’d never scream, stamp his foot and do something that.

He also tended to view the younger women he travelled with as surrogate daughter figures. In a way characters like Vicki, Victoria, Zoe, Jo Grant, Nyssa and Ace, all of whom he loves like daughters are replacements for Susan, his first companion and grand daughter.

The New Who Doctor meanwhile is a very immature, very emotional, is prone to tantrums, or letting his emotions get the better of him, such as with the Racnoss, the Family of Blood or his notorious “I COULD DO SO MUCH MORE!” rant at Wilf in The End of Time. He also falls in love with various human companions such as Rose and Clara.

Even physically the New Who Doctors tend to dress in less flamboyant, more modern clothing which is the opposite of how the Old Doctors used to dress.

Finally all of the Classic era Doctors were shown to be formidable hand to hand fighters, save for the Second.  They all regularly used to beat their enemies into submission too. The First Doctor would often whack his foes over the head with his stick, and even mentioned that he loved fighting when overpowering a Roman centurion, who he even toyed with!

The Third, Fourth, and Fifth Doctors were also shown to regularly overpower and knock out multiple men at once in stories such as The Green Death, Inferno, Day of the Daleks, Genesis of the Daleks, The Seeds of Doom and The Visitation.

The 6th Doctor was also shown to overpower and beat an armed (and homicidal) police man almost half to death in Attack of the Cybermen, and overpowered and smothered Shockeye to death in The Two Doctors.

Finally the Seventh Doctor not only overpowered the Master in their fight in Survival, but he also regularly knocked out much larger and seemingly stronger men unconscious with just one finger!

Many assume that the Doctor wasn’t an action hero, because he was obviously a more cerebral character but that’s not true. He was like Sherlock Holmes in that whilst he primarily outwitted his enemies, he wasn’t afraid of using his fists if need be.

Sherlock Holmes Tough Guy

The New Who Doctors meanwhile are never shown to display any fighting skills. Even when in young, strong bodies like 11 and 10 they NEVER use their fists against their enemies.

The 9th and 11th Doctors don’t get involved in any physical fights of any kind, (though 11 does knock out Bracewell, that’s pretty much it and  it doesn’t exactly show what a great fighter he is, biffing an old guy when he isn’t looking.)

Ten and Twelve meanwhile are shown to be skilled fencers at least in their fights with the Sycrocrax and Robin Hood, which is one trait that carried on throughout almost all of the Classic Doctors too.

Still we never see Ten and Twelve get into fist fights, and over power multiple men whilst unarmed like the Third and Fourth and even Fifth Doctors regularly did.

The New Who Doctors really only follow the same basic formula of the originals. All are mysterious time travellers, all want to explore (though even the the basic motivation of the Doctor wanting to see the universe has changed. In Eccelston’s era he says that he travels because his world is gone, whilst in the Capaldi era he only left because he was scared of the prophecy.)

Of course that’s not to say that New Who never got the Doctors character right. Matt Smith’s interpretation during his first year as the Doctor I thought was the very close to the character for the most part, and Matt was one of the best actors in the role.

Still again, Matt Smith aside, most of the time it was hard to imagine the New Who Doctors as being the same as the original.

See what I mean? Once again when you try and imagine the old Doctor as being the same character as the new one, you laugh.

Other Discrepancies

Old Who states that the Zygons home planet was destroyed by a solar flare, whilst New Who states that it burnt in the first year of the Time War.

Old Who and New Who have different dates for the destruction of the earth in the future, and both show the earth being destroyed under different circumstances with humanity being at different stages. In New Who the human race has expanded out into space and had children with other races to the point where there are apparently no “pure” humans anymore. They are also the major power in the universe, so they no longer even need the earth hence why they are happy to let it burn. They later end up terrorforming another planet called New Earth as their home however.

In Classic Who meanwhile humanity by the time of the earths destruction were a tiny desperate group living on one spaceship, which was set to go to a planet called Refusis, alongside an alien race called the Monoids.

The Brigadier according to New Who was desperate for the Doctor to salute him. This was NEVER mentioned in Classic Who, at any point.

Finally according to New Who, Sarah Jane Smith was in love with the Doctor, whilst according to the original series their relationship was never romantic.

Why This Idea Is For The Best

In my opinion New Who and Classic Who being split into two separate universes is better for both series for a number of reasons.

Number 1 it lets a lot of baggage off of New Who. Be honest here most of the hatred New Who gets is because it isn’t faithful to Old Who. Its not unreasonable for people to be angry at New Who for this, as it was billed as a sequel to the original, yet basically threw away as much of the originals characterisation and lore as it seemingly could!

However if taken as simply being an alternate universe version, then well a lot of Classic era fans I don’t think would have quite such a bad feeling towards it. I’m not saying that dross like Dark Water/Death in Heaven would ever be seen as classics, but still overall I think a lot of New Who, particularly the Tennant era would be seen in a better light.

New Who would just be on the level of the Cushing movies. Great fun (for the most part) but not actually a proper part of the show.

Also for New Who and indeed any other sequel to the original which would follow this formula it would allow them to pick and choose whatever they want from the original series rather than be forced to follow every single part of its canon blindly.

Also I feel that making New Who an Classic Who into separate universes would stop the series from falling into the trap that Marvel comics have, where essentially everything important has to be reset to the status quo at some point.

As all of Marvel’s main output has been set in the same universe since the 60s, Marvel can never really do anything big like kill off a major character such as the Green Goblin, Captain America and Wolverine without someone bringing them back at a later date due to their popularity.

Sure there are some notable exceptions like Gwen Stacey (though even then a clone of Gwen did appear and is still alive.)

This means that we can not only never finish say Spider-Man’s story, but we also can’t do things like have him get married, have children or anything that might change the status quo of Spidey being a young hero who fights bad guys.

Doctor Who due its formula would have fallen into this trap anyway, even if New Who hadn’t been as unfaithful as it possibly could.

We could never resolve the stories of villains like the Master, Davros, the Daleks. Someone could write the perfect ending for them, but then 5 or so years later another writer would completely undo it, because obviously the show can’t lose such a big icon. Similarly big developments that can go on for years like Gallifrey being destroyed, or earth being made aware of aliens in the Russell T Davies and Steven Moffat era would also always have to be undone eventually too and the status quo restored.

Personally I think they should have had used up all 13 Doctors and then had the Doctor die for good, before going on to another universe.

Of course New Who kind of got to the last Doctor a bit too quickly (another cardinal sin of the makers of New Who was the way they wasted so many regenerations, by not using Paul McGann, basically driving Eccelston out after a year, making David Tennant count twice. Even Matt Smith and David Tennant should have done 4 seasons each rather than three.)

Still whatever the case, I think that we should just jump to the chase and say that Classic Who and New Who take place in alternate universes. That way New Who can actually have an ending and finish its storylines without finishing Doctor Who.

DC comics used this formula in the 1960s and I think it worked very well. DC revealed that all of their stories from the 30s-50s took place on an alternate universe (rather confusingly called earth 2,) to the current stories (which was called earth 1).

This allowed them to reboot their series, whilst not throwing everything about the originals out, and it allowed the original versions of their characters to meet the new versions too, such as in the story, The Flash of Two Earths, where the Flash from Earth 1 (Barry Allen) after experimenting with his super speed accidentally crossed over into Earth 2 and worked alongside the original 1930s-40s Flash, Jay Garrick, who had aged realistically since we last saw him.

It also allowed DC to end the original versions of their characters too. The 30s-50s Batman for instance eventually retired, married a reformed Catwoman, and had a daughter with her, Helena Wayne who became a superhero called the Huntress and would cross over to Earth 1 where she would meet the younger version of her father, who she came to call her Uncle Bruce.

DC unlike Marvel could eventually end their most iconic characters stories whilst still keeping them around.

I personally would love to see a story where the New Who Doctor travels to the universe of the original Doctor, and we get to see an old school Doctor in a frock coat, who travels in a TARDIS that looks like the original on the inside. We can also see his earth in 2017 with far more advanced technology, and where the Cyber invasion of the 1980s is a historical fact and mankind has colonies on other planets by the 2010s, and the Daleks resemble their old series counterparts and Davros looks the way he does in Remembrance of the Daleks.

Also in terms of the future of the franchise then it would free it from the baggage of New Who.

I reckon New Who is going to be cancelled very soon, and when it does lets be honest, who would want to carry Doctor Who on?

By casting a woman in the role Chibnall has opened up a huge can of worms for casting the next Doctor. What happens if they want to cast a man? There is going to be outrage from the feminist audience. We’ll be hearing about how its transphobic to want to change the Doctor back to a man, about how its sexist, and at the same time from the people who didn’t want there will be more (correct) accusations of pandering to the PC brigade etc.

Chibnall has marched the franchise into a minefield and made the casting of each Doctor, previously something that people looked forward too, a very ugly situation. What producer or writer would want to take that on? Of again Chibnall didn’t need to land us in this ugly situation. As I have pointed out before he could have just brought Romana back as a supporting character and then spun her off into her own show, but I won’t go over that old argument again.

At the same time because of the shows established and beloved history then I don’t think a full reboot would go down tremendously well either.

A reboot however that ignores New Who and follows on from the original series would be a good compromise. The viewer could decide which one was the real sequel. Then when the third version of Doctor Who finishes in say 10 or 20 years if it has a good run, then the fourth version of Doctor Who could ignore New Who and the third version.

Obviously when I see these alternate sequels to Classic Who would ignore New Who, I don’t mean that they would get Paul McGann back. They’d just have the New Doctor show up, not mention any previous adventures, establish him, and then at some point in his second or third year, he’d casually mention “I’m on my 9th life” establishing this as a direct sequel to the original.

You might think that this would alienate new fans, but most of them have been unhappy with the direction New Who has gone in for the last few years too.

Also this doesn’t erase New Who. It just means that it isn’t the definitive take on what happens next.

I don’t think its fair personally that the makers of New Who get to decide the ultimate fate of the Classic era characters since they had no hand in creating them.

Its kind of like Sherlock Holmes. Only the original stories by Sir Arthur Conan Doyle are considered canon. All of the sequel stories by various different authors are not definitive. They can be taken as being definitive by their fans, but aren’t the official version.

That’s only fair as no one else has a right to decide how Conan Doyle’s stories should end. Now fair enough the Classic era of Doctor Who wasn’t written by one author, but still most of its creators were involved in some capacity right to the end. Terry Nation for instance still had creative control over the Daleks until the very end of the show, whilst Barry Letts helped JNT cast and create the Ainley version of the Master.

I might add that many of the people who created the original Doctor Who and its icons have/would have hated the New Doctor Who as well. Terrance Dicks for instance hated Missy the female Master, considering her an insult to the memory of Roger Delgado, whilst Terry Nation was famously protective of the Daleks, and never wanted them to appear in stories with other monsters, or ever be given human emotions or traits. He hated The Evil of the Daleks for instance which features the Daleks being infected with the human factor.

Nobody involved in original series is involved in New Who, so I don’t really see why it is anymore official than any other piece of fan fiction?

In my opinion Classic Who should stand as its own piece of fiction. Every single sequel, including New Who, and the hypothetical sequels that ignore New Who, are just one groups idea of what the show should be. None of them are official.

However rather than simply write the sequels all off as remakes, we could have them all occupy alternate realities to each other (alongside the two Cushing movies, and Doctor Omega, Doctor Who’s literary predecessor) and you the viewer can decide which if any take place in the same universe as the original, but at the very least you know they all take place in the same multiverse.

Doctor Who Multiverse

Image result for multiverse

This in my opinion is how the relationship between the various different versions of Doctor Who works. In regards to Big Finish and the comic books, you can split them off into whatever universe you want. Some Big Finish audios can easily take place in N-Space, whilst others that feature River Song would obviously have to take place in M-Space.

N-Space: (Classic Who) The universe that the original Doctor Who series takes place in. In this reality the Doctor was a pioneer among his people before he left Gallifrey. He never visited Davros as a boy, and as a result Davros removed all concepts of mercy and compassion from them. This meant that the Daleks shot their creator, but Davros survived and later split their race into two factions, making them less of a threat to the Time Lords, but a longer lasting threat in the universe.

The earth became aware of aliens in 1986 thanks to the Cyber invasion, though its technology was already much more advanced, leading to the great space age and colonisation of other worlds from the 1970s to the 2020s.

M-Space: (New Doctor Who) In this reality the Doctor visited Davros as a boy and saved him from a minefield.

This seemingly minor action had ripples throughout the history of the universe. The Daleks as a result of having some mercy, spared Davros and kept him as a slave.

As a result the Daleks advanced much more quickly and became sworn enemies of the Time Lords long before the Doctor was born. As a result of this the Time Lords were more advanced when the Doctor grew up, and so his personality was changed by this.

The First Doctors early adventures with the Daleks would have also went differently in this universe as they would have been more advanced, and he would have already been familiar with them.

Perhaps the First Doctor was the first to meet Davros for instance in this reality?

It was also a different renegade Time Lord who became the Master, once again explaining the vast differences in personality.

C-Space: (Doctor Who AARU films) The universe the Peter Cushing movies take place in.

In this universe the Doctor left Gallifrey at an earlier point in his first incarnation. He left with a much younger Susan and his other grand daughter Barbara.

Just like in N-Space (as seen in The Edge of Destruction.) This Doctor visited the 4th Universe (or rather another version of it. Lets assume there is a version of the 4th universe adjacent to every parallel version of the Doctors universe.)

We know from the Edge of Destruction that the Doctor lost the TARDIS in the 4th Universe. Now in this reality the TARDIS was badly damaged when he lost it, and the Doctor in getting it back was mortally wounded and regenerated into his second incarnation (who in this reality resembled Peter Cushing rather than Patrick Troughton.)

The second Doctor, Susan and Barbara were able to make one last trip in their damaged TARDIS to the earth in the 60s. There the Second Doctor going under the alias of the eccentric human scientist Doctor Who tried to repair his TARDIS which caused its interior to change shape.

This version of the Doctor, alongside Susan, Barbara and a human male she was in a relationship with (Ian) would go other adventures in their rebuilt TARDIS as seen in Doctor Who and the Daleks and Daleks Invasion Earth 2150 AD. We don’t know the details of this Doctors later incarnations or adventures however.

Z-Space: (Doctor Omega) The universe Doctor Omega takes place in. In this reality, the Doctor left Gallifrey with Susan round about the same time as his N-Space and M-Space counterparts did.

Like them he visited the 4th Universe, but here his TARDIS was almost completely destroyed when he lost it. The Doctor however was able to preserve one small part of his former time machine, which he cannibalised into a time ring.

He then used this time ring to travel to the earth in the early 20th century with Susan. There he tried to build a new TARDIS from the ring, but ended up creating the Cosmos instead, which he later used to resume his adventures in time and space with human companions. (Leading to the events of Doctor Omega)

Susan meanwhile stayed on earth, having grown attached to this time and planet just like her counterpart did in N-Space.

In this universe the Master also never became a villain. He still left Gallifrey to become a renegade, but here he bumped into the first Doctor and Susan at an early point before his descent into darkness, and before their visit to the 4th universe;

The Doctor and Susan were both able to convince the Doctors old friend that the path he was on was wrong, leading to him becoming a hero like the Doctor.

The Master of this universe eventually goes under the alias of Professor Helvetius. he develops a fondness for earth too and remains in contact with the Doctor and Susan (even saving the Doctor from Mars as seen in Doctor Omega.)

Not much is known about this Doctor beyond his life as the first Doctor.

D-Space: The universe that Star Trek takes place in. We know from the crossover, Assimilation, that Doctor Who and Star Trek exist in the same multiverse, so this is part of the Doctor Who multiverse as well (or Doctor Who is part of the Star Trek multiverse depending on which you prefer.)

As to why the Time Lords, Daleks and Doctor Who aliens don’t exist in Star Trek, and the Star Trek aliens don’t exist in the Doctor Who universes, I see it like this.

In the Who universes, the Klingons who we know had various wars on their home planet, wiped themselves out and never spread into space, whilst life simply never evolved on Vulcan. The Vulcan we see in Power of the Daleks, a lifeless husk, is an alternate version of the one in Star Trek where life simply never evolved.

In the Trek universe meanwhile the Time Lords were similarly terrified of the Daleks and sent an agent to alter with their past. However in this universe the Doctor was never born, so they sent in another agent who not only failed, but was captured and tortured by Davros, and told him everything.

As a result of this the Daleks advanced even greater than they did in any other universe and they and the Time Lords wiped each other out in a war, away from humanity, before either race could spread out into the universe.

As a result of this the Daleks never invaded the earth in the 22nd century, and so humanity was able to advance a lot more quickly, creating the Federation.

The Sontarans meanwhile wiped each other out in a war, whilst the Borg are an alternate version of the Cybermen. Since we never find out the origin of the Borg, lets say that they came from the Trek universe’s version of Mondas, but rather than do full conversions, they only partially converted themselves, creating the Borg instead.

Unlike the Whoniverse version of the Cybermen, the Borg as they came to be known didn’t invade earth, and found a way to exist outside of Mondas and settled in the Delta Quadrant.

The Voth meanwhile are an alternate version of the Silurians of course.

Thanks for reading.

 

 

Vampire Stories That Should Be Adapted For Film and TV

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There have obviously been many, many, many Vampire films and television series over the decades.

Like all other genres, some Vampire films and television series have been inspired, others fairly unoriginal, but still very enjoyable, and others just plain awful.

Whilst many horror fans may feel that Vampires are somewhat overused nowadays, personally I’m always happy to see a new Vampire story. To me they are the most interesting and varied monsters, so I think there’s always a new and interesting angle a writer can bring to them.

With this in mind the following are Vampire stories from other mediums that haven’t sadly received that much attention, but that I think would potentially make brilliant films and television series.

Let me know what you think, and if there are any overlooked Vampire stories you’d like to see on the big or small screen.

Fray

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What’s it about?

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Fray is a comic book mini series created by Joss Whedon, the creator of Buffy and Angel and is set in the same fictional universe as those two series.

Fray takes place in the future of the Buffy/Angel universe, in a time when technology has advanced but little else has. Vampires are public knowledge too, but most people believe them to simply be a breed of mutant and they are referred to as lurks.

Aside from Vampires most Demons and supernatural creatures have vanished from the earth. They were apparently wiped out in a battle that took place in the middle of the 21st century, described as the ultimate battle between good and evil. (It is implied that it was Buffy and the Scooby gang who fought in the battle.)

Now however after over 100 or so years, Demons are being brought back into our world through dark magics, and as a result a new slayer is called for the first time in over a century to battle them, Melaka Fray.

Things become more complicated for Fray however when her brother Harth ends up becoming the new Vampire king of Manhattan.

Why It Would Be Great

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Fray is overall a brilliant series. Definitely Joss Whedon’s best comic book work. Its setting in the far future with hover cars, mutants, death rays, etc is also a very unusual setting for a Vampire story and could I think help it to stand out from other pieces of Vampire fiction. It would need a larger budget to do its setting justice, but that might not be a problem given Joss Whedon’s recent success.

Fray is also a somewhat more unusual leading character than Buffy too. Unlike Buffy or even Angel she is perfectly willing to murder evil people, including her own watcher, (who murdered someone close to her and framed a Vampire in order to inspire Fray to hunt the undead.)

Fray in many ways is more of a hothead, yet also at other times more practical than Buffy or Faith. She doesn’t tend to let her personal problems affect her life to quite the same extent as Buffy.

She’s also a bit more unpolished compared to other female heroes too. Fray carries a massive scar that runs down her face, similar to the Wishverse version of Buffy.

Finally another reason I think a Fray series would do well is obviously because of its connection to Buffy and Angel. Both series are still rightfully regarded as classics and have massive followings. As seen with the success of the Buffy and Angel comics, many people evidently want more stories set in that universe.

I don’t think that you could bring Buffy and Angel back to television now however.

Its not because the concepts or style are outdated, its more simply because I think too much time has passed for the cast. Angel and Spike for instance are meant to be immortal characters, and whilst James Marsters and David Borearnaz have aged very well, ultimately as it is 15 years on then they have changed perhaps a bit too much.

Fray however could continue the story and universe, and you might even be able to have Buffy characters pop up in the series from time to time. For instance one issue of season 8 of Buffy sees her travel forward into the future and even work alongside Fray. This could easily be adapted as an episode with Sarah Michelle Gellar reprising her role.  This same issue also reveals that Willow at some point tragically gave into being Dark Willow again and has become a major villain in Fray’s time, working alongside Harth.

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Buffy and Fray in the future take on Dark Willow.

It would be an absolutely sensational story arc to have Dark Willow be the main villain of a season of Fray. Though it might be too controversial for Buffy fans, depending on what way they went with it.

Overall I think Fray is just screaming to be adapted as a television series. With its interesting setting and premise, unique and gritty female lead and its connection not just with Buffy and Angel, but to Joss Whedon, a major cult figure. I think it would be guaranteed to develop a very devoted cult following at the very least.

The Cast?

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Dana Delorenzo would in my opinion be the best choice for Fray.

For those of you who don’t know who she is, Dana Delorenzo is an American actress best known for playing Kelly Maxwell, a main character on the horror series Ash Vs Evil Dead.

Though it sadly only lasted for 3 series, Ash Vs Evil Dead has still developed a very large and devoted following, and Delorenzo’s foul mouthed, short fused Demon slayer is without doubt the most popular character in the series alongside its lead, Ash himself.

Delorenzo is also an impressionist too. She used to be a professional Amy Winehouse impersonator due to her rather staggering physical resemblance to the late singer. She was even in an Amy Winehouse tribute band.

I honestly can’t think of anyone better to play Fray than Dana. As you can see she could handle the physicality of the role perfectly. She’d also be able to capture the more gritty aspects of the character too, better than a lot of other actresses. How many leading actors do you think would be happy to do a scene where their heads were dumped in toilet water by a Demon puppet, perving them up like Dana did in Ash Vs Evil Dead?

Dana’s personality as Kelly also matches Fray in that on the one hand she is quite level headed and practical, but on the other she has quite an explosive temper. Finally Dana also has the right look for Fray. Short, more exotic, darker good looks, and a constantly angry expression on her face.

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In my opinion Delorenzo would be as well cast as Fray as Sarah Michelle Gellar was as Buffy.

As for Harth, Fray’s Vampiric brother, I think Robbie Kay would be a good choice. Kay is a young and very talented actor who is probably best known for playing an evil version of Peter Pan in Once Upon A Time.

This version of Peter Pan was originally a lazy bum named Malcolm who gave up his only son Rumplestiltskin in order to return to being a boy and live forever on the magical island of Neverland.

This of course later led to Robbie Kay playing Robert Carlyle, who plays Rumple as an adult’s father on screen. I must say though that Robbie pulled it off brilliantly. You completely bought that Robbie Kay was Robert Carlyle’s father, in spite of how ridiculous it may have seemed on the surface.

Harth in many ways is similar to Pan. Like Pan he is a relative of the main hero. He has a boyish, somewhat friendly look, but underneath is very cruel, manipulative and cold. He also like Pan is not above pretending he still cares about his loved one to his advantage, and he is also again despite his young appearance, the cruel and tyrannical leader of a powerful group of supernatural creatures.

There are two problems however with Robbie’s casting. First of all his accent doesn’t match Dana’s. He could obviously adopt an American accent, but his natural English accent is part of his screen presence. Also he might be a bit too young to play Dana’s twin brother.

Dana is 35 years old. She could easily pass for at least 10 years younger (not that 35 is old of course.)

Still whilst Dana can pass for her early 20s no problem, Robbie does look like a teenager. Still you could get round that by having it that he was sired as a teenager and its been a few years for Fray, but obviously Harth hasn’t aged.

As long as he could do a good American accent then Robbie for me would be absolutely perfect as Fray.

Please someone make this happen!

The Legacy of Kain Series

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What’s It About?

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Set in the mythical land of Nosgoth, this series follows the adventures of Kain, formerly a young nobleman who is resurrected as a Vampire by the Necromancer Mortainus. Kain as Vampire initially despises his condition and seeks to find a way to turn back, before eventually embracing his destiny and becoming the king of the Vampires.

The series sees Kain constantly struggle against the Circle of Nine, powerful sorcerers who control the fate of Nosgoth. In various entries in the series Kain even manages to change the history of Nosgoth, turning it from a land where Vampires are all but extinct, to one where Kain rules a massive Vampire empire that covers.

Later entries in the series follow Kain’s rivalry with his son, Razziel. Razziel, also a Vampire is thrown by Kain into a bit of never ending torment after defying him, but manages to survive only to re-emerge later as a mutated soul devouring Vampire.

Razziel is condemned to a slow torturous death by his father only to return as a more powerful adversary later.

Whilst Razziel seeks to destroy his father, the two nevertheless do work together in other entries to try and in their eyes, save Nosgoth.

Razziel and Kain’s somewhat complicated relationship.

Throughout the series Kain wavers between an anti hero and an outright villain, but he always remains convinced that he is doing the right thing.

Why It Would Be Great?

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The Legacy of Kain is easily one of the greatest video game series ever made.  Its effects storyline and voice acting is still some of the best there has ever been in the medium.

Of course not everything that works in a video game works in other mediums, but I think a television series of the Legacy of Kain would translate really well onto television.

On tv I think it would stand out somewhat more. We don’t see that many Vampire television series or films that take place in a mythical fantasy land like Nosgoth. They usually take place in modern day or in Gothic surroundings.

Also Kain and Razziel are very unusual leading Vampire characters. They are truly monstrous in appearance. (Razziel is missing the lower half of his jaw!) Most good guy Vampires are portrayed as sexy like Spike, Angel, Vampirella etc for obvious reasons.

Also Kain and Razziel are a little bit more complex than other Vampire protagonists too. They aren’t motivated by being in love with someone, or even in just in being a better person. They both want to challenge destiny, defy the will of the gods and shape the world in a way that they believe to be better.

The fact that The Legacy of Kain also deals with time travel too is also a somewhat unusual subject for Vampire fiction.

The Legacy of Kain television series would obviously need to have a large budget to do its exotic and colourful settings justice, but still if done right I think Legacy of Kain could be a Game of Thrones style gritty, violent fantasy series.

The Cast?

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Kain would have to be played by Simon Templeman who voiced the character in the original games. The character would have to be made older of course, but that’s okay. Small price to pay to get Simon Templeman back. Templeman to me has the best voice for a villain.

Among his other notable roles include The Angel of Death in Charmed, the psychotic spectre Pervayne in Angel, and Doctor Doom is the classic 90s animated version of the Fantastic Four.

Sadly however Michael Ball the voice actor for Razziel is too old to play the character. He is 80 years old! Instead I think Michael Fassbender would do a brilliant job at capturing the characters passion, fanaticism and more complex personality.

Vampirella

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What’s It About?

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Originally the character of Vampirella was portrayed as an alien from the planet Drakulon, where blood flows in rivers. As the blood begins to dry up however due to the planets two suns, Vampirella is sent to earth to try and find a way for her kind to survive. It is said that centuries ago another member of her kind, Dracula visited the earth and was able to survive on the planet. Vampirella soon discovers that this is because her species can survive on the blood of humans.

Though giving into her thirst initially, Vampirella eventually is able to control her dark urges and works to help fight the evil members of her kind who were created on earth by Dracula, (who also goes on to become her archenemy.)

Many decades later when Vampirella was revived her origins were changed so that she had been sent from hell by her mother, Lilith, the mother of all Vampires to help mankind. Lilith was initially believed to be seeking redemption for her sins in creating the Vampire race, but it was later revealed that she had her own evil plans for her daughter.

Why It Would Be Great?

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Vampirella is the original Vampire superhero. There had obviously been benevolent Vampire characters in fiction before Vampirella, such as most notably Carmilla Karnstein. However these characters were usually just love struck, mopey heroes who wanted to give up being Vampires and have a normal life.

Vampirella marked the first time we saw a Vampire actively hunt other members of its kind and other supernatural creatures such as Witches, Demons and Werewolves.

Also whilst super strength and other incredible abilities had been a feature of Vampire myths throughout the ages, Vampirella was really the first time where these powers were used in a more overt way like a superhero.

We wouldn’t just see Vampirella overpower her victim like Dracula. We’d see her jump hundreds of feet through the air, beat up dozens of guys at once, move at lightening speed, dodge and catch bullets etc.

In this respect Vampirella is really one of the most pivotal characters in Vampire fiction, helping to pave the way for the likes of Blade and Angel. Sadly however despite this whilst she has a following, Vampirella remains somewhat overlooked in comparison to other Vampire characters.

Its amazing that save a terrible 1996 straight to video film there has never been a proper adaptation of the character either. Apparently there was an attempt to make a serious film version by Hammer in the 70s which would have starred Peter Cushing as Van Helsing, and Caroline Munro as Vampirella, but sadly it was never made.

I think there could be a lot of value in a Vampirella tv series. Most brooding Vampire heroes tend to be guys, like Angel, Blade, Spike, Mitchell from Being Human. It might be interesting to see a female version of this type of character. Vampirella also had an interesting collection of supporting characters and villains culled from various myths and Vampire stories such as Lilith that could be exploited too.

As for which of her origins to use, well I think you could maybe merge both of them together so as to incorporate elements from the characters entire history.

You could have it that Vampirella instead comes from an alternate universe where Vampires have overrun humanity. Perhaps in this universe, Van Helsing failed to stop Dracula when he was in London during the events of Stokers novel. Remember that in Stokers original novel, Dracula is only in London so that he can use the British empire to spread Vampirism around the world like never before and eventually overrun humanity.

Maybe in Vampirella’s universe Dracula succeeded after killing Van Helsing and now humans are nothing but cattle, with there being rivers of blood and all other supernatural creatures having been enslaved by Vampires too, just like Draculon from the comics, but at the same time its effectively a hell dimension like her later origins.

Maybe the alternate world has even been renamed Draculon! Of course in the first episode you’d have Dracula and Vampirella, the last hope for the last group of human resistance accidentally get transported to our reality whilst dueling with each other (in our universe Dracula just as in Stokers novel was obviously killed by Van Helsing in the early 20th century, explaining why Vampires haven’t overrun our earth.)

You could also later have Lilith be the one who engineered Dracula and Vampirella to be transported into another universe through a spell like in Vampirella’s later origins, so that Lilith could take over in Dracula’s absence. However after she takes over Lilith finds out that the humans the Vampires feed on have been hunted so extensively that they are dying out, and so she decides to lead her army to our earth.

Much like with Buffy, Vampirella also fights various other monsters such as Demons, Werewolves and Witches and so the stories wouldn’t have to just stick to Vampires either.

The Cast?

Its hard just whittling it down to one choice for Vampirella, but I’d say my top choice would probably be Katarina Law.

Best known for playing Nyssa Al Ghul in Arrow, Katarina has the right look for the part, can cope really well with action roles, and is a great actress all around who could easily carry her own series.

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Famke Janssen best known for her roles in various action and cult films such as Goldeneye, the X-Men film series, and The Faculty would make a brilliant Lilith too. She’s great at playing really nasty villains and she’s physically quite imposing too.

 

The Monster Club

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What’s It About?

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The Monster Club is an anthology horror novel by R Chetwynd Hayes. It was adapted as a film in 1980. I’m only going to be talking about the film here as sadly I haven’t had a chance to get a hold of the book yet, though its on my to do list.

The films premise sees a horror author attacked by a Vampire named Erasmus, who pretends to be a homeless man. Erasmus does not kill the horror author however after recognising him and invites the author for a drink at the local monster club.

There Erasmus tells the author three real stories about monsters.

The first story is about a Shadmock named Raven. Shadmock’s are hybrid monster creatures, who kill using a deadly whistle which burns their victims. Shadmock’s can’t always control their whistle however and will sometimes unleash them on their victims in a moment of anger or stress.

Raven is a wealthy, kind hearted individual, who keeps away from people so as not harm anyone. Unfortunately however he soon becomes the target of two con artists, Angela and her boyfriend George.

Raven soon falls in love with Angela and even proposes to her. Though Angela does develop a genuine friendship with the Shadmock and doesn’t want to hurt him. George forces her to go along with the scam. Things become too much for Angela however when she meets Raven’s strange monstrous relatives, and later when Raven finds Angela trying to steal the money from his safe, he willingly hands it over to her pitifully telling her “You could still love me”.

Angela however having finally snapped from the pressure screams at Raven that she could never love him as he is a hideous monster and Raven in grief unleashes his whistle which completely destroys Angela’s face. When Angela returns to George, he is driven insane by the sight of her mutilated face and ends up in a catatonic state for the rest of his life.

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Angela after the Shadmock’s whistle destroys her face. Ironically her final words to her boyfriend before sending him into a permanent catatonic state are “you could still love me.”

The second story revolves around a Vampire who still has a normal human family. Unfortunately despite seemingly being reformed the Vampire is still the target of a group of dedicated Vampire hunters. The Vampire however after tricking their leader is able to turn him, resulting in the Vampire hunter being slain by his own men.

The final story sees a film director named Sam stumble upon an old town named Loughville whilst searching for an atmospheric setting to shoot his new film.

As soon as he arrives in Loughville, Sam is confronted by several decrepit old men who tell him he will never leave. When he tries to get away in his car, Sam finds it has been sabotaged and is attacked by the residents.

Barely escaping to a nearby house, Sam soon meets a young woman named Luna. She explains to him that the residents of the village are hideous flesh eating Demons called Ghouls. She says that she is a half human, half Ghoul, and that her mother was a traveller who stumbled upon the village where she was raped by the Ghouls, and then eaten alive after she gave birth to Luna. Luna says that the monsters have devoured countless other travellers who have strayed too close to the village and tells Sam that the only place he will be safe is in the local church.

Sam barely makes it to the Church, which the unholy monsters can’t enter. Whilst there he discovers the rotting skeleton of a priest as well as his diary, which details the chilling circumstances of how Loughville came to be overrun by the Ghouls.

Originally Loughville was just a normal town, but at some point its people discovered a Ghoul lurking in a local graveyard. The villagers wanted to kill the abomination, but the Priest foolishly thought he could rehabilitate the monster and took it into his house.

Later however he discovered the beast feasting on the corpse of one of its victims. He chased the Ghoul away, but by then it was too late and the monster was able to summon a horde of Ghouls who quickly overran Loughville.

The Priest escaped to the church, but he was too scared to try and escape and eventually died of dehydration in the church. The final entry in his diary mentions that even as he writes he can hear the howls of the ravenous Ghouls outside.

The Ghouls soon turn on Luna for helping Sam and try to eat her. Sam is able to ward them off with a cross and get Luna inside the Church. Luna warns Sam that soon the Elders will return to the village. The Elders regularly make visits to the London underground where they snatch unsuspecting victims and take them back to the village. Luna states that the Elders are far stronger than the regular Ghouls and that they won’t escape if they return.

Sam and Luna make a run for it through the woods, carrying a cross to ward the Ghouls away. Unfortunately just as they are about to escape, Luna’s own Ghoul father kills her by throwing a rock at her head.

Sam escapes to the motorway meanwhile where he is picked up by two policemen who promise to help him. However the policemen drive back to the village and explain to Sam that they are actually the escorts for the elders when they visit London, whose car Sam can see driving behind them.

To Sam’s horror the car arrives back in the village square where the monsters swarm the car, and the two policemen turn round revealing their monstrous teeth to the petrified film director who is then eaten alive.

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Sam finds out the hard way that there is sometimes corruption in the Police force.

After entertaining the author with the three stories, Erasmus insists that he be made a member of the Monster Club. Despite the fact that humans aren’t monsters, Erasmus is able to convince the owner of the club (a Werewolf) that humans are evil by listing all of the horrible things they have done to each other and the author is made an honorary member.

Why It Would Be Great

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Okay now I know that this book has already been made into a film in 1981 starring horror icons John Carradine and Vincent Price. The film is great fun and at places genuinely terrifying such as in the Ghoul story.

Still I think that it could also be the basis for an interesting television series. I would keep the same basic premise for the television series as the film and the book, but obviously change a few things around for practicality sake. I would have the horror author from the book arrive in a city, famous for its ghost sightings, and monster stories to get inspiration for his latest book, only to discover that the stories are real!

He would just as in the movie befriend Erasmus, who in this version would be a reformed Vampire. The Monster Club would in turn also be a place for reformed Monsters who use their powers for good to chill out after a day of saving the world.

The main characters aside from Erasmus would of course be Raven, the son of the Vampire from the second story, and Luna, (who I would reveal had survived being hit on the head. The way I see it, she’s half Ghoul so she has to have some kind of special Ghoul powers. Maybe she was stronger than she thought, and awoke a few hours later, slipping away from the Ghouls who also thought she had died?)

Together they would be a group who fight monsters such as Vampires, Ghouls and Werewolves. The series would blend humour and genuine horror together just like the original film and novel.

The book and film have such rich backstories and mythology for their monsters its a shame we don’t get to see more, which obviously the tv show would exploit.

The book features an interesting idea of Vampires, Ghouls and Werewolves being the three original monster races, with all of the others like the Shadmock being hybrids of some kind.

I’d love to see some of the other monster hybrids in action and see their powers. Its a shame that we only get to see a Shadmock. Also how do the different monster breeds view each other?

Maybe some hybrids consider themselves superior to the original monsters as they have all of their powers and fewer of their weaknesses?

Added to that a lot of the characters in the three stories I feel have more potential to exploit in a tv show. Luna for instance has potential to be a really interesting heroine. A half human, half Ghoul who at first finds it hard to adjust to human society, who has a lifetime of horror in the Ghoul village to overcome (including watching her own mother be eaten alive by hordes of monsters, including her own father!) Then there is also the fact that Luna herself was forced to eat the remains of the Ghouls victims too!

Similarly the Shadmock is a tragic character who could be so torn over the guilt at destroying the woman he loves, that he is determined to make up for it.

At the same time the Vampire character from the second story could also be made into a darker character. Perhaps he keeps his wife and son around simply as a cover? Maybe his wife is being forced through hypnosis like the Priest in Dracula Has Risen From The Grave or Renfield in the Lugosi Dracula to protect him during the day, but every minute she is struggling to break free. We could also see how the Vampire abuses his son in an attempt to crush all humanity out of him so that when he is older he can turn him into a more effective Vampire.

The boy however would escape his father, and devote himself to killing his father, becoming a Vampire hunter, whilst his father would be determined to make his son pay for blowing his cover too.

The Vampire hunter (played by Donald Pleasance in the film) who is turned could also an interesting villain for the main characters. Much like Gordon Walker in Supernatural he would be a Vampire who hates being a Vampire but can’t control his bloodlust and so he ends up being dangerous to everyone and everything around him.

There are also a number of other characters from the anthology who could make effective villains. Angela for instance would be a great archenemy for Raven. After he destroyed her face and made her an outcast like him, she would be determined to make him pay.

Luna meanwhile would have the Elders and her own Ghoul father as her foes. It would be cool if they made the Elders (who we don’t actually see in the film) look like the Ghouls in these terrifying illustrations we see in the priests account of how Loughville fell.

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Ghouls are very under represented in horror movies and television series compared to other favourite monsters like Vampires, Demons, Witches, Zombies and Werewolves. We never see them as the main villains in any major franchise for instance, so a Monster Club tv show could finally give them a big role. 

Again it feels like we only scratch the surface of the Elders in both the book and the film. We know that they are more powerful than regular Ghouls, that they travel to the city and snatch people in the London underground to bring back to the Ghoul village. We also know that they have eyes and ears outside the village, including most disturbingly of all, in the police force!

There is so much potential in the Ghouls backstory. We could see stories involving the Elders creeping about the dark streets of London, picking people off, or stories that explore how they have agents across human society in the police force, or even in other areas such as the government, maybe even the entertainment industry! We could see how there are hundreds of towns like Loughville across the world, and they are all in some way connected, with the Elders working through a network with one another.

We could see how the monsters have even managed to take over modern cities, albeit in more discreet ways than Loughville as they have to work under the radar.

I would also love to see a story where Luna returns to Loughville to destroy it and we get to see the town in a greater detail, including the cages where the Ghouls keep their victims locked up, as well as the remains of Sam and of course the return of Luna’s abusive, monstrous father.

There’s an entire wealth of stories just waiting to be used in the universe R Chetwynd Hayes created.

The Cast?

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I think that Noel Fielding would be a great choice for the role Erasmus. For Erasmus you’d need someone who is quite optimistic, yet has quite a dark sense of humour. Someone who can happily tell their victim that their blood was the nicest he ever drank and hope they’ll take it as a compliment.

Noel is a great comedy actor and he has experience playing weird and over the top monsters like the Hitcher, the Spirit of Jazz, Tony Harrison and of course Old Gregg!

I am sure he could come up with a suitably over the top and lovable personality for Erasmus.

I’d also love to see Noel play other monster roles in the series too. I think he would do a brilliant job as one of the Elders too. Of course his performance as the Elder would have to be more frightening. I think it would be interesting to see Noel try and tackle playing a a proper horror movie monster. A lot of his characters like the Spirit of Jazz and The Hitcher are bordering on being genuinely creepy. You can imagine how with a little tweaking the Hitcher could be a genuine horror movie villain. A green skinned monster who enjoys stabbing and raping people!

As for who could play the horror author, well I think Noel’s comedy partner, Julian Barratt would be excellent.

Julian is a great comedy and serious actor. He’s really good at playing pompous know nothing know it all’s and I think he could bring a lot of humour to the author character, yet not too much that they couldn’t have him be involved in serious storylines.

As for Raven I could definitely see Reece Shearsmith playing him. Shearsmith who is best known as a member of the League of Gentlemen is a lifelong horror fan and I can see him coming up with an interesting look and somewhat more nuanced performance for the tormented but hot tempered Shadmock.

As for Luna I think that Ingrid Oliver would be great. I admit I LOVE Ingrid Oliver so I pretty much want to cast her in anything. Still I think she would bring a lot of vulnerability and strength to the role as seen with her performances as Natalie in Peep Show and Osgood in Doctor Who.

The Witches

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What’s It About?

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A Roald Dahl novel, The Witches revolves around an old former Witch hunter and her grandson (neither are named in the novel, but in the film the grandmother is named Helga, whilst the boy is named Luke.)

Helga warns Luke about Witches who are said to be Demons that take on human form. Witches despise children above all else and torture and kill them using their spells.

According to Helga Witches are all bald, have purple eyes, long talons, and square toes which they cover up in various ways when luring children away to murder.

 

Despite Helga’s warnings however Luke is later captured by the Grand High Witch of England (who poses as the head of a children’s charity!)

The Witch uses Luke as a test subject for her new potion, which turns him into a mouse!

Luke and Helga soon discover that the Witches are attempting to spike candy bars all over England with this poison and turn every child into a mouse!

Fortunately however with Luke’s help, Helga is able to turn the tables on the Witches and spike their own food with the poison, causing them to all turn into rats where they are hacked to pieces in a hotel.

The ending of the book and the film differ from this point. In the film one of the Witches (played by Jane Horrocks) reforms and reverses the spell turning Luke back into a boy. In the book however there is no good Witch (as such a thing simply cannot exist.)

Thus there is no way to turn Luke back from being a mouse, and he will only live another 9 years. Still Luke and his mother decide to hunt down the remaining Witches and wipe them out using their own poison.

Why It Would Be Great?

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Okay I know there are two things I have to address. First of all this is not a Vampire story, and second, its already been adapted.

However I’m going to make an exception in including the Witches here. First of all whilst it might not be a Vampire movie it does still follow all of the tropes laid down by Vampire stories. Its basic plot is somewhat similar to the two modern day Hammer Dracula’s, Dracula AD 1972 and The Satanic Rites of Dracula starring Peter Cushing and Christopher Lee for instance.

Both revolve around an old grand parent, who used to be a monster hunter, both see them come across their archenemy, the alluring, but utterly loathsome leader of a race of monsters. Both see the leader of the monsters target their enemy’s grand child, and both see the monster using aspects of the modern world to keep hidden in plain sight, whilst intending to launch a plague with horrifying effects.

Also whilst the 1990 Witches film adaptation is one of my favourite films, I think that it might be quite interesting to base a television series around the Witches.

The series would follow Luke and Helga travelling the world killing Witches. It would obviously have to take a few liberties to be adapted. Much like the film, Luke would have had to have been turned back into a human after the Witches were destroyed.

You could include the reformed Witch character from the film if you wanted, or you could just simply have it that after slaying the Grand High Witch, Helga was able to find a way to reverse the potion. She is a Van Helsing style expert on the occult after all. It shouldn’t be too hard.

You’d have it set about ten years after the events of the novel, with Luke now being 18 and you’d obviously have to add at least one or two more characters so it wasn’t just Luke and his grandmother all the time.

Also I think you would need to change it so that the Witches were not an all female race of monsters. I don’t think the original novel was sexist because of this. In fact quite the opposite. I think its great that women got a chance to play one of the scariest monsters in all of horror. Normally the most terrifying monsters are men, like Dracula, the Daleks, Freddy Krueger etc,  whilst female monsters and villains in general such as Catwoman tend to be more sympathetic. So it was good to see a female monster for once who was evil as you could imagine.

 

However in the current climate I think having a show about a young man go around killing female monsters would just stir things up. The SJWs and the anti SJWs would probably both try and claim the show. You’d get people saying the show encourages violence against women, and you’d get people saying that the Witches are a metaphor for feminists, and Luke is a symbol of men fighting back against Third Wave Feminism.

Its sad but its true that in the current climate almost nothing can be apolitical anymore. Of course its the SJWs fault for trying to find sexism in EVERYTHING. Its only natural that the anti SJW side would soon start to do the same and slap their agenda on everything they can. Still that’s the way things are, so I think it would be better to simply have it that Warlocks also exist in this version and they are the same as Witches.

I wouldn’t bother to have there be any power struggle between Witches and Warlocks either so as not to get it dragged down in any more feminist vs anti feminist crap. Just have some cells be commanded by a Grand High Witch and others by a Grand High Warlock.

Of course in keeping with the book, then the main villains would all be Witches, with the Warlocks usually just being mooks. The Grand High Witch would obviously still be heroes archenemy.  The same way that most Vampires we see in Buffy are men, even though we know that women can be Vampires, then this would just be the same in reverse.

I think the Witches would offer more different roles for women than we see in other genre series.

The role of the grandmother is almost always one that is occupied by a man. Whether that’s Peter Cushing, Ruper Giles, Abraham Whistler, Bobby Singer. The crusty old mentor figure who is a paternal figure to the younger heroes, who knows everything there is to know about Vampires, Demons, Witches and monsters, who has countless books on the occult, who loves reading about the occult, who is old, but still tough as an old pair of boots and at times quite ruthless.

This character is always a man, so I think it would be interesting to give us a female version of this type of character who was a mentor to a younger male character like Luke and Helga.

The Witches also wouldn’t have to be bound just to Witches all the time. At the start of the book, Helga mentions that there are various other monster species including Ghouls, but none of these creatures make an appearance.

In the television series however you could do episodes that focus on these monsters. I think you could actually have The Witches and Monster Club television series take place in the same universe, and even have crossovers between them. I think their style would mesh as they are both very British and both whilst having moments of genuine terror, also have a somewhat tongue in cheek aspect to them too.

The Cast?

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For the role of the Grandmother I think that Jenny Agutter would be marvellous. Jenny Agutter is a highly respected British actress known for her wide range of roles in various film and television series such as Call the Midwife, Logans Run and An American Werewolf in London.

She’s good at playing quite practical, level headed characters, but at the same time she also has a very warm, caring aspect to her too as seen in the poignant final moments in An American Werewolf in London where she attempts to talk David down.

As for the Grand High Witch, you’d need to get someone who much like Anjelica Huston is strikingly beautiful, yet can also play a grotesque monster really well.

I think that Lucy Lawless best known for playing Xena the Warrior Princess would be an amazing Grand High Witch. Lucy obviously looks amazing normally, but when she wants to she can really ham it up gloriously as a grotesque monster, as seen in many episodes of Xena where Xena gets turned into a Demon, a Vampire, and a monster of some kind. She’s also a brilliant villain as seen in Spartacus Blood and Sand, Ash Vs Evil Dead and even Xena herself before she was reformed.

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Don’t tell me you couldn’t see her as the Grand High Witch.

Katey Sagal an actress best known for her roles in Futurama, Sons of Anarchy and Married with Children would also make a great Grand High Witch. Like Lucy Lawless and Anjelica Huston she is physically quite imposing and she can do nasty really well too.

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Another great choice for the role would be Michelle Gomez. Now obviously I absolutely despise her most well known role, that of Missy, the female version of the Master in Doctor Who. However in all fairness that’s not because I dislike her. I think that everything about the character of Missy from why it happened, to the way it was written was terrible. The actress almost didn’t matter.

Michelle Gomez, Missy aside is a good actress, and she is certainly good at playing crazy and nasty people. I could easily see her playing a really menacing Witch. Whilst she’s not physically very tall, in the original novel the Grand High Witch is actually said to be very petite in both frame and stature so Michelle could actually be a more faithful interpretation than even Anjelica Huston’s.

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Of course as there is meant to be more than one Grand High Witch then you could have all 3 actresses play Witches at various points in the series. Why settle for one crazy bitch?

American Vampire

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What’s It About?

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American Vampire is a comic book series created by Scott Snyder, Rafael Albuergqueqe and Stephen King. Its premise revolves around the idea of there being various different species of Vampires, giving rise to the different myths and legends over the centuries.

The series follows an outlaw named Skinner Sweet who is the first of a new breed of Vampire, immune to many of their standard weaknesses and limitations such as sunlight.

The series primarily follows his life throughout the 20th century as well as his battles with other Vampire breeds, and his somewhat complicated relationship a young woman named Pearl Jones, who he turns in order to save, and who then goes on to wage war against a pack of European Vampires who had ruined her life as a human.

Why It Would Be Great?

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American Vampire has a particularly interesting premise with its blending of different Vampire myths and settings across various different periods in American history. Its Vampire protagonists are also not really good guys either. More villain protagonists who are slightly less evil than the Vampires they are facing. Skinner Sweet is a sociopathic murderer even before he becomes a Vampire!

I think it might work better as a film series than a television one.

The Cast?

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For Skinner Sweet I think Boyd Holbrook would be excellent. Holbrook is best known for playing the sadistic villain Donald Pierce in Logan. With Skinner he could give us a Vampire protagonist that is genuinely difficult to like, but still engaging on screen.

Michelle Rodriguez meanwhile would be great for Pearl. Who plays tragic, badass action heroines better than her?

Tomb of Dracula

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What’s It About?

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Tomb of Dracula was a long running Marvel comic. It told the history of Dracula, showing his life as Vlad the Impaler, when he first becomes a Vampire, when he kills the then current king of the Vampires, Nimrod and takes his place, his attempts to spread Vampirism across the world, his battles against the Van Helsing family and his own half human, half Vampire daughter, Lilith and his many deaths and resurrections over the centuries.

Later series see Dracula battle the Night Stalkers a group of Vampire hunters which include Drake, Dracula’s human descendent, Rachel Van Helsing, reformed Vampire Detective Hannibal King, half human, half Vampire Eric Brooks (Blade) and Quincy Harker, a descendent of Jonathan Harker.

Why It Would Be Great?

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Obviously there has already been an adaptation of Blade, and I liked the Blade trilogy. It was in its own way innovative and influential.

Still it wasn’t really faithful in anyway to the original source material. Its versions of Dracula, Blade, Hannibal King and Frost were all drastically different to the Marvel versions, whilst characters like Quincy Harker and Rachel Van Helsing were replaced with the Whistler family. Other characters like Lilith were omitted completely meanwhile.

Personally I’d love to see a version that stays closer to the original. The Marvel Dracula could actually be the definitive version of Stokers Vampire.

It manages to capture all of the elements that we see in the most famous versions of Dracula. There’s the physical, savage aspect and the sadism of Christopher Lee, the hypnotic, sinister gentlemanly qualities of Bela Lugosi, the romantic qualities of Dracula’s like Jack Palance, Frank Langella and Gary Oldman, and finally he also captures the arrogant, Vampire King who wants to rule the earth aspect of Stokers original Vampire.

I think the television series based on Tomb of Dracula would probably feature the Nightstalkers as the main characters, but that would be okay. We could still see Dracula’s long history unfold via flashbacks.

I think it would also be better if they set it in the 1970s too. Whilst the stories could be adapted to modern day fairly easily, I think that the 70s setting would help the series stand out more.

The Cast?

For the role of Quincy Harker I think Tim Curry would be an excellent choice. Tim Curry obviously needs no introduction. He is one of the greatest British actors of all time, famous for his wonderfully over the top performances in The Rocky Horror Picture Show, Legend, Clue, Muppets Treasure Island and IT.

Sadly Curry suffered a stroke in 2012 and now uses a wheelchair. However fortunately he can still speak, and continues to act, having done both voice over work, such as in Over The Garden Wall, and live action work, such as the 2016 remake of The Rocky Horror Picture Show where he played the Narrator.

Now the character of Quincy Harker is in a wheel chair too, so physically there wouldn’t be any problems in Curry’s current condition. Also I think Curry would be right for the role as Harker is an old eccentric, very British, stiff upper lip type character that Curry plays so brilliantly in films like Clue.

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As for Dracula himself I think Aidan Gillen would be good. He is a brilliant villain as seen with his performances in Game of Thrones and Shanghai Knights, however he is also able to bring a certain gravitas to his performances that would help to flesh the Marvel Dracula out.

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For Rachel Van Helsing meanwhile I think Heida Reed would be brilliant. Whilst best known for her role in Poldark, what really made me think she would be great was her performance as Joecyln Peabody in the recent audio version of Dan Dare, a similar brainy heroine who fights monsters. She’d have to dye her hair blonde, but other than that I think she would be excellent.

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Rachel would undoubtedly be the main character of the series, but Heida Reed would be more than capable of carrying her own series in my opinion.

For Hannibal King meanwhile I’d like to see James McAvoy as the famous Vampire Detective. King is supposed to be a very thoughtful, sensitive character which is why Ryan Reynolds, no offence intended to the man, didn’t really do the character justice.

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For Blade I think D.B. Woodside would be an excellent choice. He has already played a kick ass Vampire hunter, Robin Wood in Buffy the Vampire Slayer season 7, and his recent role as Uriel in Lucifer further shows how well he can cope with action and genre roles too.

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Finally for Lilith I think Morven Christie would be great. Morven is a character actress who is known for playing somewhat complicated, tormented, even villainous characters, so I’m sure she’d be able to get into the characters complex personality no problem.

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The Federal Vampire/Zombie Agency

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What’s It About?

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The Federal Vampire/Zombie Agency is a website that is written from an in-universe perspective. It was later adapted into a comic book miniseries.

It details an alternate history of the world where Vampires, Zombies and Werewolves were public knowledge with humanity throughout its entire history. The Federal Vampire and Zombie Agency was set up to deal with the threat these monsters posed to humanity.

Vampires, Zombies and Werewolves are not supernatural creatures in the Federal Vampire/Zombie Agency universe. They are the result of mutations and viruses, and all of their powers, and specific weaknesses are explained away through rational means.

The Vampires in the Federal Vampire/Zombie Agency are truly hideous, pitiful creatures who live in squalid little caves, are impotent, and their bodies literally rot away into nothing.

Killing them is seen as an act of mercy by the FVZA.

Why It Would Be Great?

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The Federal Vampire/Zombie Agency would be the basis for a really dark and frightening Vampire television series.

Its definitely the anti Twilight, anti Vampire Diaries in that it makes being a Vampire look like the most horrifying thing imaginable.

Vampires in the FVZA are bald, ugly, rotting, impotent monsters who live in caves, and fight each other for dominance.

The fact that its Vampires are also created through rational and scientific means could also help the series stand out somewhat from almost all other popular pieces of Vampire fiction which are obviously more fantasy based.

The Cast?

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The leading character in the FVZA series would have to be Doctor Pecos, the world’s greatest expert on Vampires.

Personally I think that Peter Capaldi would be brilliant as Pecos. Capaldi is great at playing the older, angry, insufferable genius type. Sadly during his tenure as the Doctor he was somewhat wasted, though I won’t go into why again here as that’s been covered many times before.

Still hopefully Doctor Pecos would make a better use of his talents. In my opinion Peter Capaldi needs to play a Vampire hunter. He has the right look for it. He kind of reminds me a little bit of Peter Cushing, arguably the greatest onscreen Vampire hunter of them all.

Capaldi is a massive fan of Peter Cushing and even bases his autograph on Cushing’s so I think if given a chance to play a Cushing style Vampire hunter/expert he would really relish the chance.

Thank you for reading, and let me know which overlooked Vampire or supernatural stories you’d like to see adapted.

 

The Worst Types of Sci Fi and Fantasy Fans

Fandom can be a tricky thing. On the one hand when a show, comic book or film develops a devoted fan following they can help keep it alive through dark times, ensure that it is never forgotten and work hard to make sure it gets the respect its due in the industry.

Sadly however at other times, fans can end up sinking the thing they love and even in extreme cases, salt the earth so that future writers and directors can’t or won’t ever go near it ever again!

They accomplish this either by taking their favourite franchise over, or forcing the writers to do things their way by slandering them in the media.

In this article I am going to look at who are the worst types of fans and why pandering to these people will kill a franchise stone dead, or at least make it a shadow of its former self.

The Purist Fan Myth

Before we start I’d just like to dispel one myth that the worst type of fan to pander to is the purist fan. Now obviously a fan who can’t stand any kind of change will never be happy, but to be honest those types of fans are in the extreme minority.

Most purist fans are happy with some change, but they just want the product to remain recognisable as what it was originally in some way.

Take for instance the Heath Ledger Joker and the Peter Cushing version of Van Helsing. Both are in many ways different from the original versions, yet both are arguably the most beloved adaptations from die hard fans.

The Ledger Joker doesn’t have perma white skin like the original Joker, whilst Cushing’s Van Helsing is a younger, more physically active character, who has devoted his entire existence to killing Vampires as opposed to just reading about them.

However both still seemed like the same character in other, more important ways so most even die hard fans didn’t mind those changes.

The Ledger Joker was obsessed with proving his superiority to Batman, yet could never kill him as he acknowledged that no one else could keep up with him, which is exactly the same relationship the comic book Joker has to Batman.

Here compare their dialogue.

Original Joker

(To Batman) “I could never kill you. Where would the act be without my straight man?””

Ledger Joker

You won’t kill me out of some
misplaced sense of self-
righteousness. . . and I won’t kill
you because you ‘ re too much fun .
We’re going to do this forever. 

The Ledger Joker also had mysterious origins just like the original too. We never found out his real name like the comic book Joker, and just like the comic book Joker he told a multitude of different stories about how he came to be, with the implication being that he was so insane, even he didn’t know which, if any of them were real.

“Sometimes I remember it one way, sometimes I remember it another. If I’m going to have a past, I prefer it to be multiple choice.”

The Ledger Joker meanwhile was also obsessed with proving that ordinary people can be made into monsters just like the original Joker has been throughout much of his history. Indeed the plot for The Dark Knight is similar in some respects toThe Killing Joke, a classic Joker story.

In The Killing Joke the Joker tries to drive Commissioner Gordon insane by crippling his daughter, Barbara Gordon, whilst in the Dark Knight the Ledger Joker famously drives Harvey Dent insane by killing his lover Rachel, and scarring him.

Again look at their dialogue to see how they both have pretty much the exact same motivation.

Original Joker

So… I see you received the free ticket I sent you. I’m glad. I did so want you to be here. You see, it doesn’t matter if you catch me and send me back to the asylum… Gordon’s been driven mad. I’ve proved my point. I’ve demonstrated there’s no difference between me and everyone else! All it takes is one bad day to reduce the sanest man alive to lunacy. That’s how far the world is from where I am. Just one bad day. 
You had a bad day once, am I right? I know I am. I can tell. You had a bad day and everything changed. Why else would you dress up like a flying rat? You had a bad day, and it drove you as crazy as everybody else… only you won’t admit it! You have to keep pretending that life makes sense, that there’s some point to all this struggling! God, you make me want to puke. 
I mean, what is it with you? What made you what you are? Girlfriend killed by the mob, maybe? Brother carved up by some mugger? Something like that, I bet. Something like that… 
Something like that happened to me, you know. I… I’m not exactly sure what it was. 
But my point is… my point is, I went crazy. When I saw what a black, awful joke the world was, I went crazy as a coot! I admit it! Why can’t you? I mean, you’re not unintelligent! You must see the reality of the situation. Do you know how many times we’ve come close to World War Three over a flock of geese on a computer screen? Do you know what triggered the last World War? An argument over how many telegraph poles Germany owed its war debt creditors! Telegraph poles! 
It’s all a joke! Everything everybody ever valued or struggled for… it’s all a monstrous, demented gag! So why can’t you see the funny side? 
Why aren’t you laughing?”
Batman: “Because I heard it before and it wasn’t funny the first time. I spoke to Commissioner Gordon before I came in here. He’s fine. Despite all your sick, vicious little games, he’s as sane as he ever was! So maybe ordinary people don’t crack. Maybe it’s just you.”

 

Ledger Joker

I believe that whatever doesn’t kill you makes you stranger.

Madness is like gravity. All it takes is just one little push. 

Batman: What were you hoping to prove? That deep down we’re all as ugly as you? This city just showed you that its full of people ready to believe in good. 

You can see how the dynamic is pretty much the same.

The Ledger Jokers way of operating is also similar to the original. Both make it known to the public that they are going to kill a high profile figure before they do so, both stay ten steps ahead of the police and the Batman, and both also use disguises too.

Finally the Ledger Joker also keeps the villains trademark look. Okay its more dishevelled, but the overall look, green hair, white face, large distinctive grin, pink or purple suit, is still there.

Similarly the Cushing Van Helsing keeps the two defining traits of Van Helsing. That he is an ordinary man with no super powers who has to defeat Vampires using his wits, and cunning, and that he is the world’s greatest expert on Vampires, Demons and monsters.

Now compare these two versions of iconic characters to the Hugh Jackman version of Van Helsing and the 1998 Godzilla and you can see when and why die hard fans DO get angry at characters being changed.

The Hugh Jackman Van Helsing is nothing like the original. He has no knowledge on Vampires, Demons, Werewolves etc. (In fact he has another character there to fulfil that role!). He also has super powers and jumps hundreds of feet through the air, and bends steel with his bare hands.

With this in mind in what way is he Van Helsing except in name only? Similarly the 98 Godzilla is not indestructable, is smaller, weaker, never fights and doesn’t have any firey breath. His design is also not even remotely similar to Godzilla’s. Again much like the Joker, Godzilla’s design has changed over the years yes,  but there is always a blueprint to the Dinosaurs look, which the 98 Godzilla ditches completely.

So in what way is the 98 Godzilla, Godzilla?

Fans disliked these versions because in a way they felt like an insult to the original character. Essentially someone was coming along and saying that Van Helsing and Godzilla were boring, or silly heroes, so lets do our version that has nothing to do with the original, whilst using the name Van Helsing and Godzilla to sell our product and trick people who actually like them into watching it.

At the end of the day I don’t think that most fans mind a character being changed in some way, just as long as they are still recognisable as the character they are supposed to be

Sadly however the media with its anti nerd bias will often smear fanboys as being so unreasonable that they can’t stand ANY change. Thus fans who want to remain true to the character are often slandered as the worst type of people to pander to.

They are ALWAYS portrayed as the types who are out of touch with what the public want, want their product to be something for them only, are irrational and entitled etc.

The great irony is that whenever the more faithful and purist types of fans get their hands on a franchise they tend to do a better job with both the public and critics.

Take for instance Batman. The DCAU (a series of animated shows and films based on DC comics, which includes Batman the Animated Series) was made by purist fans.

Bruce Timm and Paul Dini the two major creative forces behind the DCAU, were huge fans of DC comics and they wanted to make their versions as faithful as possible. Of course they changed a few things around, but overall they tried to remain faithful to the history of the characters they were adapting.

The result was what many deem to be the greatest versions of icons like Batman and Superman, a Saturday morning cartoon so popular that it made its way to prime time tv, and a franchise that ran for almost 15 years.

Similarly Christopher Nolan was a huge Batman fan who whilst making it more realistic and gritty, still tried to stay true to the original Batman mythos. He even cited the Jokers first ever appearance as his main inspiration for The Dark Knight.

The result? The most successful live action version of Batman.

The 2014 version of Godzilla is yet another example. Its director, Gareth Edwards outright said that he wanted this version to be more faithful than the 98 version, and it was. The 2014 Godzilla restored his atomic breath, followed the template of the original Godzilla design, and made him both indestructable to human weapons, and a ferocious fighter, taking down other monsters, just like the big G we all knew and loved from the Toho films.

 

You can see how the 2014 version is basically just an old Godzilla movie,  but with updated effects.

The result was that this version of Godzilla was a massive success both critically and commercially and will be the start of a new series unlike the 98 version which crashed and burned with critics and audiences.

I think people tend to cite 80s Doctor Who as proof that pandering to die hard fans will kill a show. In the 80s Doctor Who’s producer John Nathan Turner hired superfan Ian Levine as a continuity adviser. Many believe that Levine forced JNT to include too many references to the past and that this was the reason the shows viewers tanked.

Personally however I’ve always found that to be a weak reason, often given by self loathing fanboys. Whilst its true that there are probably too many continuity references in the Davison and Colin Baker eras (when Levine was present.) At the same time there were far more important reasons as to why 80s Doctor Who suffered a fall in viewers.

To start with the BBC at the time HATED Doctor Who and its production team and openly admitted to wanting to sabotage it.

They cancelled it in 1985 when its viewers were still strong (and the shows overseas following was bigger than ever.) Though they brought it back after 18 months, by that time it had lost a lot of viewers in the wilderness.

They also gave it no advertising, slashed its already small budget, raised prices of stories abroad to the point where no one could afford them, and put it up against Coronation Street which was the death slot. They also fired its leading man, (and even went against the terms of his contract.) And refused to allow its producer to leave when he wanted for 5 years, all of which made working on DW look like career suicide to anyone in the industry.

All of this contributed to its death far more than a couple of little continuity references in the Davison and Colin Baker eras. Really I’d go as far as to argue that Ian Levine played NO role in the death of Doctor Who. (I might add that Levine wasn’t even there for the shows last 4 years, which is when the real fall in viewers and critical acclaim began.)

Still even if you can lay the blame at Levine’s door, the decline of 80s Who is nowhere near as bad as the following ways in which other types of fans have wrecked franchises.

80s Who simply saw the show lose its popularity. At the end of the day Doctor Who was still Doctor Who when it finished in 1989. The Master was still the Doctors archenemy who hated him and wanted him dead, the Doctor was still the same grandfatherly, eccentric scientist we knew and loved. It could be brought back at any time with no baggage. The same is not true now.

3/ The Shipper Fans

We all have couples that we like, characters that we want to see get together, but these people take it to a whole other level.

The shipper fans will write fiction devoted entirely to their preferred couples, but even then that’s not what bothers me. I mean hey I may not like those kinds of stories, but if other people do, more power to them I say.

What bothers me about shipper fans (not all) is the way they will often bully and harass other fans and even the makers and producers of the product they are “Fans” of until they all pander to them in some way.

People are often too scared to say anything back to shipper fans, because they often assume they are women. Male nerds are petrified of ever disagreeing with a woman out of fear of being labelled a sad man baby who doesn’t want women being a part of his favourite franchise.

Of course the great irony is that there are just as many male shipper fans as female shipper fans. Indeed its often the male shipper fans that actually bring this shit into the franchise itself like with Batman and the Joker, the Doctor and the Master, and even The Mekon and Dan Dare.

Still the stereotypical image is of a young woman sitting on her laptop writing erotic fan fiction, so most nerds will be too scared to say anything against them.

Also in recent decades as shipper fans have begun to focus more on same sex pairings, if you say you disagree or dislike their interpretation of certain characters relationships then you are slandered as a homophobe.

Thus sadly the Shipper fans, despite being far more unreasonable, far more entitled and having far more of a visible influence in the downfall of fandoms, characters and franchises are often treated more favourably and pandered to by the media and the producers of various series than the purists.

On the one hand we will get purist fans being told they are sad gits who should get a life, whilst on the other we will get actors and writers apologising to shipper fans for supposedly “queer baiting them” whatever the fuck that means.

Queerbaiting is more frustrating than ever

Fan Complaining At Queerbaiting Trailer

The worst thing about Shipper fans is not even that they often have an influence, but also that they are by far and away the most infantile fans in any fandom.

They reduce every single relationship to being about sex. Now I’m no prude. I have no problem with romantic relationships in genre series, either straight or gay. But there is a time and a place, and not every single relationship has to be devolved into that.

Thanks to the Shipper fans influence so many iconic characters and relationships  have all been rewritten to be more romantic, and consequently made less interesting and unique.

Take a look at Spike and Buffy for instance. Spike from seasons 2-4 was a very interesting and unique Vampire. He was a practical self server, who was happy to work alongside the vilest villains, and the heroes if it benefited him in some way.

In season 2 Spike agrees to help Buffy save the world. Whilst his main motivation is to get Angelus away from his girlfriend, Drusilla, Spike also does genuinely want to save the world because he likes it the way it is.

“We like to talk big.  Vampires do. ‘I’m going to destroy the world.’  That’s just tough guy
talk. Strutting around with your friends over a pint of blood. The truth is, I like this world.
You’ve got dog racing, Manchester United. And you’ve got people. Billions of people walking around like Happy Meals with legs. It’s all right here.

But then someone comes along with a vision. With a real passion for destruction. Angel could pull it off. Goodbye, Picadilly.  Farewell, Leicester Bloody Square. You know what I’m saying”

Its an interesting idea that a Vampire, or a Demon wouldn’t actually want to destroy the world, not because he has fought the Demon inside of him, or found love, but for purely selfish reasons.

In this respect Spike would actually prove influential on the character of Crowley from Supernatural. Crowley much like Spike is an unquestionably evil monster, a Demon, but he still nevertheless helps the main heroes to save the world solely for his own safety, and later regularly flips back and forth between working against and with the heroes for his own reasons.

Sadly however from season 5 on Spike, suddenly out of nowhere, fell head over heels in love with Buffy. This was simply because Buffy and Spike were popular characters, played by two attractive and sexy leads, and shipper fans wanted to see them get together.

So Joss Whedon, ever the fan panderer, rewrote it that Spike has always been in love with Buffy, and that was the real reason he worked with her in season 2 to save the world.

Now in all fairness the Buffy/Spike romance wasn’t completely terrible, unlike some other forced ships. Still it definitely made Spike less interesting and less unique.

How many times have we seen a Vampire become a good guy because he falls in love with someone? Its the biggest cliche in all of Vampire fiction. Spike from season 2-4 was something new. Also Buffy itself had already had a romantic Vampire anyway, with Angel whose relationship with Buffy dominated the first 3 seasons of the show.

For seasons 5-7 of Buffy Spike really just becomes Angel mark 2. They repeat all of the same beats they did with Angel. Like Angel he gets a soul, like Angel he is in love with Buffy and wants to be a better man for her, and like Angel he goes bad again after getting that soul, before getting it back and becoming a champion.

Its not until season 5 of Angel that Spike is able to become the Spike of old again, but by this stage, his entire character had been dominated by his love for Buffy to the point where sadly that’s all the character is remembered for in popular culture. Another romantic Vampire.

This brilliant article which you should read if you have the time sums up why Supernatural in some ways did a better job with Crowley than Buffy did with Spike.

Why Fergus (Crowley) Went Right Where William (Spike) Went Wrong

Its not even as though the actors were happy with the Buffy and Spike relationship. Sarah Michelle Gellar hated the story, feeling that it diminished her character, and James Marsters is never done complaining about how much of a pussy Spike became from season 5 on.

Though the Buffy/Spike pairing is popular, it is also without doubt the most polarising relationship in the show, and indeed many fans feel that the later seasons of Buffy, particularly the last 2, where the Buffy/Spike relationship takes centre stage are among the weakest.

A more extreme version of a character being ruined by shipping fans is the Master from Doctor Who.

The Master for those of you who don’t know is the Doctors archenemy. He is a time lord just like the Doctor. The Masters aim in the original series is to take control of planets like the earth because he believes that under his rule, he can make them better places.

His logic in some ways is sound. As a Time Lord the Master will have knowledge of the future and so he will help humanity avert disasters, wars, alien invasions. Everything from the Titanic sinking, to the Second World War, to the Dalek Invasion of the 22nd century he can stop.

The Master with his intellect can also give races like humanity technology that can cure diseases, end hunger, explore space, and he can also using his alien intellect end all inequalities too.

Whilst the Master is also motivated by his own selfish lust for power, he does genuinely believe that when he rules he will be benevolent and can justify many of his most heinous crimes to the Doctor as being for a greater good.

See here.

JUDGE: Counsel for the defence may now cross examine the witness

THE MASTER: Thank you, your honour.

THE DOCTOR: Of all the infernal… You don’t mean to tell me he’s defending himself?

THE MASTER: Sadly, yes. Sir Roderick met with a most unfortunate accident.

THE DOCTOR: Yes… I’m quite sure that he did.

THE MASTER: Would the court please make note of the witness’s hostile attitude. The Doctor is a very old, and, may I say, a very dear aquaintance, but sometimes a little incautious and hot headed in his choice of language.

THE DOCTOR: I’m not hot headed, you scoundrel. 

THE MASTER: Do make a note of that.

THE DOCTOR: Now see here…

THE MASTER: I really think, Doctor, it may be best if you take a nice deep breath. I say this, speaking as a friend.

THE DOCTOR: I am no friend of yours!

THE MASTER: Indeed? The whole court has heard you give an impassioned speech asking for me to be shown clemency. Who but a friend would do that?

THE DOCTOR: A merciful man.

THE MASTER: A humane one?

THE DOCTOR: Yes.

THE MASTER: But it is these very humane humans of yours that wish to put me to death.

THE DOCTOR: Well… you’ve killed hundreds and tried destroy their planet half a dozen times.

THE MASTER: I dispute that last statement. I really must protest. I have not tried to destroy this planet. I will admit I have, perhaps encouraged regime change on several occasions.

THE DOCTOR: You admit it!

THE MASTER: The human race is not very advanced is it Doctor? They still, for example practise the death penalty.

THE DOCTOR: Yes…

THE MASTER: They regard all alien life as hostile and frequently wipe it out in their encounters with it.

THE DOCTOR: That is regrettable.

THE MASTER: You see, ladies and gentlemen of the court, please don’t take this amiss, but as a species you’re not experienced enough. You are likely to misconstrue the actions of other species simply because you cannot yet comprehend them. You may perceive our actions as a threat when really they are a benevolent attempt to bring you advancement. Would you not agree, Doctor?

THE DOCTOR: I would not!

THE MASTER: So, when you brokered a peace treaty with the Silurians, what was the reaction of the human race?

THE DOCTOR: They, er, well, they blew them up.

THE MASTER: They destroyed an ancient civilisation? Dear me, hardly the action of an advanced species. Is it, Doctor?

THE DOCTOR: No. No, on that I must agree. But humanity is… well… I mean, for a level 2 civilisation, they’re doing remarkably well.

THE MASTER: A level 2 civilisation! Would you care to define a level 2 civilisation?

THE DOCTOR: I’m not really sure I should.

THE MASTER: Come now, Doctor. You introduced it into evidence?

THE DOCTOR: Very well. A level 2 civilisation is one that has discovered elementary space travel, hydrocarbons, antibiotics and the principles of nuclear fission.

THE MASTER: A capital definition. And what do most level 2 civilisations do with the discovery of nuclear fission?

THE DOCTOR: They build power stations.

THE MASTER: But what, would you say, is the principal use made of it by humanity?

THE DOCTOR: Oh, that’s hardly fair. Its how humanity learns, they find a thing and their first use is always.

THE MASTER: Yes Doctor?

THE DOCTOR: In weapons. They make nuclear weapons.

THE MASTER: And how would such a development be viewed by, say, a level 3 civilisation?

THE DOCTOR: As barbaric. But..

THE MASTER: Barbaric! And tell me Doctor. What level is our own race?

THE DOCTOR: Ah, ah, well, a level 12 civilisation.

THE MASTER: So would you say you are more qualified to judge humanity’s actions than they are?

THE DOCTOR: Er…

THE MASTER: I’ll rephrase the question. Are they qualified to judge your actions?

THE DOCTOR: Certainly not.

THE MASTER: So are they qualified to judge me? All right let me put it to you. I stand here accused of being now what is it, ah yes under article 18B of the Emergency Powers Act of being of hostile origin or association, and of committing acts prejudicial to public safety. Doctor I dispute these allegations, and you are going to help me prove them false.

THE DOCTOR: I have absolutely no intention of helping you.

THE MASTER: Since arriving on this planet, would you not agree that I have revolutionised the efficiency of the plastics manufacturing industry?

THE DOCTOR: Yes, but

THE MASTER: Thank you. I’ll admit my methods were aggressive, but oh so human. And have I not also had remarkable results with the elimination of psychopathic tendencies in the criminal mind.

THE DOCTOR: Only by

THE MASTER: I’m afraid its a yes or no question.

THE DOCTOR: Yes, but

THE MASTER: And finally, did I not offer humanity a remarkable solution to its energy crisis?

THE DOCTOR: Fine, yes fine. But in every case

THE MASTER: I know, I know. My good intentions were rebuffed and misconstructed. Surely, however even you can agree with my actions in Devils End.

THE DOCTOR: Not in the slightest.

THE MASTER: Come now. Who better to sit in judgement on a level 2 civilisation than its creator, Azal of the Daemons. We can both see the mess this species is in. You can choose to do nothing. I tried, oh how I tried, and then when that failed, I appealed to Azal, hoping he could shape and reform it. Instead regrettably, he wrote the experiment off. Wasn’t that what happened, Doctor?

THE DOCTOR: Well… yes. If it hadn’t been for Miss Grant. You’re leaving out your actions on Uxarieus, where you tried to take control of.

THE MASTER: Where I attempted peacefully to adjudicate on a dispute between worthy pioneers and a legitimate mining concern. But I’m fairly certain Doctor that events on ther planets are outside the jurisdiction of this court, and should not be brought into play. 

THE DOCTOR: They prove that you want to play God.

THE MASTER: Merely to improve the existence of the common lot, I assure you. I am on this planet for its own good.

THE DOCTOR: If not the good of its population.

THE MASTER: Now, that is unfair, Doctor. I try my best. What more can anyone say? 

At first The Master believes that the Doctor can be a possible ally. The Master hates the Time Lords because he believes that they waste their great power. However the Doctor who as far as he knows is the only other Time Lord who has left Gallifrey and gone into the universe and had an influence. He genuinely hoped that the Doctor could help him build his better galaxy.
MASTER: We’re both Time Lords, we’re both renegades. We could be masters of the galaxy! Think of it, Doctor, absolute power! Power for good. Why, you could reign benevolently, you could end wars, suffering, disease. We could save the universe. 

Of course when it becomes apparent that the Doctor is never going to join the Master, the Master sees him as his biggest threat and tries to destroy him. The more the Master fails however and the more his killing is for nothing, the more the Master grows to despise the Doctor to the point where it at certain points becomes the Masters main motivation to make the Doctor suffer.

Later stories also see the Master lose his regenerations and end up in a burnt out husk of a body and see him try to extend his life. Still the Masters desire for power does always persist.

Every single Classic era story gives the Master one of the following three motivations. Lust for power, revenge on the Doctor, and desire to prolong his own miserable life.

As time goes on the villains hatred for the Doctor as well as whatever it is that scarred him and took away his regenerations drags him further and further into madness and turns him into a monster.

The Doctor in turn always regarded the Master as evil. As early as the Masters second appearance, the Doctor tried to kill the Master even when the villain agreed to flee as the Doctor believed he was too big a threat to the rest of the universe.

JO: But I don’t see why you’re so upset. If you give him (the Master) back the circuit and he hands over the missile 
DOCTOR: You just don’t understand, do you, Jo? Once he gets that circuit back he’s free to roam through time and space. We’d never catch him. 
JO: Then you’ll just have to give in. The Master’s got the missile and all we’ve got is this wretched machine. 
DOCTOR: Jo, will you stop stating the obvious. What did you say? 
JO: I said all we’ve got is this machine. 
DOCTOR: Well, that’s it. That’s the answer. We’ve got the machine and we’ve got our friend, Barnham. 
JO: I don’t understand. 
DOCTOR: With a little help from you, old chap, we can destroy this machine and the Master at the same time.

MASTER: (After the Doctor attempted to trap him in a place that was about to blow up) Ah Doctor I was afraid you’d be worried about me, so I thought I’d let you know that I’m alive and well.

DOCTOR: I’m extremely sorry to hear that!

DOCTOR: Well, I didn’t actually see him (the Master) fall, you know. I was quite busy. 
ENGIN: Oh, but if by some miracle he survived the fall into that chasm, he was dying anyway. 
DOCTOR: There was a good deal of power coming out of that monolith, and the Sash would have helped him to convert it. 
SPANDRELL: Are you suggesting he survived? 
DOCTOR: No, no, I hope not, Spandrell. And there’s no one else in all the galaxies I’d say that about. The quintessence of evil.

There was never ANY sexual tension between them. In fact Roger Delgado, the actor who originated the role of the Master believer that he was actually the Doctors brother, and the two creators of the Master, Terrance Dicks and Barry Letts intended to reveal this in the Masters final story which was sadly never made as Delgado was tragically killed in a car accident. Still as Delgado and Jon Pertwee always intended them to be brothers, it doesn’t seem likely that either they or the writers added in a sexual element does it?

John Nathan Turner who produced all of the stories with Anthony Ainley’s version of the Master also said that the he always considered the Master to be the Doctors brother, and came close to revealing it.

The only other incarnation of the Master was the burned Master, who was a rotting corpse so it can be taken for granted that there was no sexual tension there!

Sadly however throughout the 90s the shipper fans began to dominate Who fandom and for some reason insisted that there was a gay subtext between the Master and the Doctor.

Even though there demonstrably wasn’t a gay subtext, the shipper fans just kept claiming there was (often by taking lines and scenes out of context) until it became received wisdom. Its like Lenin says. A lie repeated enough times becomes fact.

See here. Doctor Who Foe Yay

When many of these shipper fans like Paul Cornell, Steven Moffat and Russell T Davies brought the show back, they started to make it canon that the Master wanted to shag the Doctor which eventually culminated in the Master changing his sex, falling in love with the Doctor, trying to shag him almost every time he met him, and French kissing him!

The Master I grew up with. A relentless and effective villain who still tries to kill the Doctor even as his world crumbles!

What Shipper fans did to the character. Yes SHE is actually meant to be the same character as the one in the cloak above!

The Master was completely destroyed as a character by being made into basically the Doctors jealous ex.

To start with his motivations became less interesting. Before he was a megolomaniac who believed that he would reshape the cosmos in his own image. Now SHE is only interested in winning the Doctor back as her boyfriend.

Her plans all revolve around getting the Doctor back from about 2014 on. Not once does the female Master attempt to take over the earth.

In Death in Heaven she creates an indestructable Cyber army as a present to give the Doctor, whilst in The Magicians Apprentice/The Witch’s Familiar she doesn’t even have a plan until the end when she can kill Clara, a rival for the Doctors affections. Throughout all of  season 10 meanwhile all she does is try and go good so she can be with her ex boyfriend.

The villain has been completely undermined and reduced to nothing but a jealous ex of the Doctor, and his past characterisation of hating the Doctor has also been made a mockery of too. Now it just looks like the Master was overcompensating because he couldn’t accept being gay for the Doctor.

Here some dialogue from the Classic era Master.

No, we could not have used anyone. You do not understand hatred as I understand it. Only hate keeps me alive. Why else would I endure this pain (holds his shaking, burned hand up.) I must see the Doctor die in shame and dishonour. Yes, and I must destroy the Time Lords. Nothing else matters. NOTHING!

Here some dialogue from the female Master.

Oh Clara, Clara, Clara, I might shoot her in a jealous rage, now wouldn’t that be sexy.

My hearts are maintained by the Doctor.

(To the Doctor) I have two hearts. Both yours.

Show a bad girl how its done.

(About the Doctor) I want my friend back.

Of course anyone who is angry at the Master being vandalised in this way has been tarred as a sexist, homophobe by the shipper fans.

Other iconic relationships that have similarly been degraded by either pandering to shipper fans, or shipper fans going on to write for the show, comic etc, are Batman and the Joker, the Green Goblin and Spider-Man, Dan Dare and the Mekon, Buffy and Faith, Superman and Lex Luthor, and Holmes and Moriarty.

Here is a list of some of them.

Comic Books Foe Yay

None of these characters have been downgraded quite as much as the Master of course, but still writers have attempt to explain away the Jokers obsession with Batman, The Green Goblins obsession with Spider-Man and Moriarty’s obsession with Holmes as all being because they are secretly in love with the hero and can’t admit it.

In all cases much like the Master and the Doctor, this not only makes characters like the Joker and the Goblin all much less effective villains, but it also makes their relationships with their archenemies boring too. They are all basically the fucking same as each other now.

It seems no one can have a villain/hero relationship that doesn’t get back to sex. It was always frustrating the way no one could ever have a villain and hero of the opposite gender to one another who weren’t attracted to each other at some point.

Even if that wasn’t the original intention like Spike and Buffy, someone somewhere would come along and write that in.

Now however it seems we can’t even have a villain and a hero who are of the same sex without someone making it all about sex. Even if said characters are not gay or bisexual, it doesn’t matter. Somewhere some hack writer will add a sexual element and think he is being really edgy by doing so.

Again I’m not saying don’t ever have a romantic relationship between a villain and a hero. I rather liked Ares and Xena for instance. It wasn’t perfect, but at least it made sense. Ares from the second he first appeared on screen clearly had a powerful attraction to Xena, so it didn’t just spring out of nowhere and contradict the characters entire history like Spike and the Master.

Still don’t drag it into every single fucking relationship. Its infantile if you can’t conceive of two characters having a rivalry, or a relationship of any kind that doesn’t revolve around sex.

Was there sexual tension between Hitler and Churchill for instance? They were rivals. By these people’s logic it has to be because they were secretly gay for each other and couldn’t admit it.

Shipper fans should always be held at bay. NEVER apologies to them for supposedly queer baiting like Misha Collins and Steven Moffat have both done in the past. NEVER change two characters relationship simply because they are a popular pairing in fan circles, and NEVER pander to shipper fans in any way shape or form. Even if its just one character making a joke like Dean to Castiel, they’ll jump on that and use that as proof to later vandalise said character when they get hold of the franchise.

2/ SJW fans

Yes I know old ground for me. I won’t spend too long on this as I have covered why I hate these people in other articles, but I can’t not mention them when talking about awful types of fans can I?

SJW, which stands for Social Justice Warriors, is an ironic, mocking term used to refer to those who see themselves as the modern day versions of Martin Luther King, Rosa Parks etc, but focus on trivial bullshit and end up becoming genuinely bigoted themselves.

At first glance most impartial people will probably think “well what’s wrong with SJWs? All they want is stronger roles for women, black people, LGBT people etc”.

Thing is that’s not just what they want. Obviously the overwhelming majority of sci fi and fantasy fans have 0 problem with LGBT characters, female characters or black characters.

Some of the genres biggest hits have starred LGBT characters, black characters and female characters. Xena, Buffy, Rocky Horror Picture Show, Blade, Spawn, Alien, Terminator, Red Dwarf etc.

SJW fans however want to inject their own very particular and poisonous brand of  politics into a product until it completely takes it over.

Female, black, LGBT characters have to remind us every three seconds that they are all of those things, and in a condescending way to the viewer that’s basically the writer saying “I bet you people watching at home are shocked to see someone non white, non straight on tv!”

On top of this, white male characters will have to be full of self loathing for being white, and will have to be emasculated and constantly insulted by the smug black/LGBT/female character for having white male privilege.

Case in point.

See what I mean this is not simply having a black or an LGBT character and people going crazy because they can’t take it, as the SJWs often like to paint it.

Xena was bisexual and had many romances with men AND women throughout her 6 year long series, yet funnily enough no one cared and Xena was the most popular cult series in the world at that point (being shown in more countries than classic who ever was!)

It might be because Xena was a fully fleshed out character, and didn’t have to virtue signal about being LGBT, or go on about hating white men every two seconds, or comment on the petty Presidential politics of the time in a way that would date her in about 5 years!

Red Dwarf’s main character is a black man, and NOT once is it mentioned that he is black. Think of all the things Lister insults Rimmer for. Not once does he go on about Rimmer having white privilege. In fact he is very sympathetic to Rimmers problems about his dad, but just thinks he is a smeg head all around.

SJW fans also want to change or replace already existing characters too. The likes of Thor, Wolverine, and Iron Man have all been killed off and replaced with female characters taking up the mantle.

Others meanwhile as we have seen like the Doctor and the Master have been rewritten to be transexual, bisexual, lesbian lovers!

Again nobody has a problem with a hero being a woman, bisexual or transexual, but create your own heroes that are that. Killing off a fan favourite like Wolverine is obviously going to anger his fans, and similarly completely changing the Master from the Doctors nemesis, to his jealous gay lover is obviously going to annoy his fans, because now we won’t get to see a Master story anymore. We’ll have to watch a story with Missy, who is a totally different character in every way.

However anyone with these legit complaints will be shouted down and outright abused by SJWs as a bigot, a manbaby etc.

Case in point.

On top of this when not running a show, SJWs will always get their way by abusing the makers and producers in the media.

The most notable example of this was when SJWs and feminists launched a smear campaign against Steven Moffat, the former producer of DW from about 2011 on. They accused him of being everything, sexist, homophobic, racist, abelist etc, until by a bizarre coincidence he started doing everything they wanted from about 2014 on (to the extreme detriment of the show, like Missy.)

See here.

Trigger Warning Sexual Assault in Doctor Who

Problematic Posters For Doctor Who

Why Does The Man Behind Doctor Who Still Have A Job

Asylum of the Daleks is Problematic

Doctor Who Is Racist New Book Claims

New Doctor New Direction

SJWs are bullies and fanatics who always get their own way, which is not surprisingly why die hard fans hate them. The shows, video games and comic books they take over will often fail with mainstream viewers just as badly as they will focus solely on the fact that they have black, LGBT people, female characters at the expense of everything else (like you know having a fucking story. See Ghostbusters 2016.)

They foolishly think they can sell something on diversity alone which in a way is insulting to the minorities they claim to be fighting for. Apparently an LGBT sci fi fan doesn’t care about well written stories, or interesting, thought provoking ideas and concepts. All you need to get them watching is just to have two guys, or two women make out and that’s it. They are apparently a very easy audience.

Finally SJWs won’t even remain loyal to the thing they claim to be a fan of. They are professional victims who always want to be offended. You could have the most diverse cast imaginable and they’d still find a way for it be racist.

Here are some examples of them eating their own.

So with this in mind why would anyone want these people as their audience?

You’ll drive away everyone but a tiny minority and said minority will still slander you as being sexist!

Pandering to SJWs has sunk every single franchise that’s done it, from Ghostbusters to Doctor Who, but incredibly enough, SJWs as much as I despise them are not the worst fans out there.

1/ Self Loathing Fans

The most destructive fan of them all. The self loathing fan is someone who is embarrassed to be a nerd and tries to get round it in many ways.

To start with they are happy for their favourite franchise or series to completely change if they think that it will be popular among the masses. They will justify these changes with a stupid motto of “all change is good, because the franchise or series changed in the past”.

Of course no one is saying that ALL change is bad. However its equally stupid to say all change is good. Take change on a case by case basis.

The self loathing fan if he is male will also have a patronising attitude towards women. He will be desperate not to be seen as the stereotype of a nerd who can’t stand women liking sci fi or fantasy, so he will not only agree with a female nerd on ANYTHING, but will abuse any male fan she is arguing with as a sad “ming mong” fan.

The self loathing fan if they are male will almost always go on about how much they care about representation and will display some manufactured anger at how there are apparently no female heroes. “It makes me sick to see another cis white het dude cast as Batman/the Doctor/ James Bond” or something like that.

He will of course be in favour of male characters being changed into women too, like Doctor Who, even if he isn’t a fan of said hero. The great irony is that he will most likely not be a fan of ANY female led shows. Xena, Buffy, Charmed, Earth 2, Ghost Whisperer, Star Trek Voyager, Once Upon A Time. You’ll be lucky if he has two of these in his collection.

He also won’t have any black led films and tv shows like Red Dwarf, Blade, or any foreign genre films and tv series such as the classic Chinese horror films like Mr Vampire, A Chinese Ghost Story etc.

His DVD, book and music collections will be the most testosterone filled, white, heteronormative collections you’ve ever seen. But that will be why he is so self loathing. He actually thinks this makes him sexist, racist and homophobic.

Of course you could never prefer say Doctor Who to Charmed, because it might just be your thing more. No it has to be because you have been raised in a society that hates women.

See here for an example of this type of fan. Steve Shives, a notorious feminist who thinks that preferring Angel to Buffy makes him a sexist!

Now you might be inclined to feel sorry for this type of fan more than the shippers or the SJWs as they are bullied, but ultimately they are the worst as they are the fans who allow the SJWs and the shippers to wreak havoc on beloved franchises.

The likes of Steven Moffat, Chris Chibnall are self loathing fanboys who gave into the SJWs because they foolishly thought they were the “cool kids” that they had to get liking their show.

Take a look at these quotes from Steven Moffat about Doctor Who in the 90s.

Back when I was in my early twenties, I thought Doctor Who was the scariest programme on television. I had one particular Who-inspired nightmare which haunts me to this day — except it wasn’t a nightmare at all, it was something that happened to me on a regular basis. I’d be sitting watching Doctor Who on a Saturday, absolutely as normal… but I’d be in the company of my friends!!

Being a fan is an odd thing, isn’t it? I was in little doubt — though I never admitted it, even to myself — that Doctor Who was nowhere near as good as it should have been, but for whatever reason I’d made that mysterious and deadly emotional connection with the show that transforms you into a fan and like a psychotically devoted supporter of a floundering football club, I turned out every Saturday in my scarf, grimly hoping the production team would finally score.

Of course my friends all knew my devotion to the Doctor had unaccountably survived puberty and had long since ceased to deride me for it. I think (I hope) they generally considered me someone of reasonable taste and intelligence and decided to indulge me in this one, stunningly eccentric lapse. And sometimes, on those distant Saturday afternoons before domestic video my nightmare would begin. I’d be stuck out somewhere with those friends and I’d realise in a moment of sweaty panic that I wasn’t going to make it home in time for the programme—or worse, they’ d be round at my house not taking the hint to leave — so on my infantile insistence we’d all troop to the nearest television and settle down to watch, me clammy with embarrassment at what was to come, my friends tolerant, amused and even open-minded.

And the music would start. And I’d grip the arms of my chair. And I’d pray! Just this once, I begged, make it good. Not great, not fantastic —just good. Don’t, I was really saying, show me up.

And sometimes it would start really quite well. There might even be a passable effects shot (there were more of those than you might imagine) and possibly a decent establishing scene where this week’s expendable guest actors popped outside to investigate that mysterious clanking/groaning/beeping/slurping sound before being found horribly killed/gibbering mad an episode later.

At this point I might actually relax a little. I might even start breathing and let my hair unclench. And then it would be happen. The star of the show would come rocketing through the door, hit a shuddering halt slap in the middle of the set and stare at the camera like (and let’s be honest here) a complete moron.

I’d hear my friends shifting in their chairs. I could hear sniggers tactfully suppressed. Once one of them remarked (with touching gentleness, mindful of my feelings) that this really wasn’t terribly good acting.

Of course, as even they would concede, Tom Baker (for it was he) had been good once — even terrific — but he had long since disappeared up his own art in a seven-year-long act of self-destruction that took him from being a dangerous young actor with a future to a sad, mad old ham safely locked away in a voice-over booth.

Which brings us, of course, to Peter Davison (for it was about to be him). I was appalled when he was cast. I announced to my bored and blank-faced friends that Davison was far too young, far too pretty, and far, far too wet to play television’s most popular character (as, I deeply regret to say, I described the Doctor). Little did I realise, back in 1982, that after years of anxious waiting on the terraces in my front room, my home team were about to score — or that Davison was about to do something almost never before seen in the role of the Doctor. He was going to act.

Let’s get something straight, because if you don’t know now it’s time you did. Davison was the best of the lot. Number One! It’s not a big coincidence or some kind of evil plot, that he’s played more above-the-title lead roles on the telly than the rest of the Doctors put together. It’s because-get this!-he’s the best actor.

You don’t believe me? Okay, let’s check out the opposition, Doctor-wise (relax, I’ll be gentle).

1. William Hartnell. Look, he didn’t know his lines! (okay, fairly gentle. It wasn’t his fault) and it’s sort of a minimum requirement of the lead actor dial he knows marginally more about what’s going to happen next than the audience. In truth, being replaceable was his greatest gift to the series. Had the first Doctor delivered a wonderful performance they almost certainly would not have considered a recast and the show would have died back in the sixties.

2. Patrick Troughton. Marvellous! Troughton, far more than the dispensable, misremembered Hartnell, was the template for the Doctors to come and indeed his performance is the most often cited as precedent for his successors. Trouble is, the show in those days was strictly for indulgent ten-year-olds (and therefore hard to judge as an adult). Damn good, though, and Davison’s sole competitor.

3. Jon Pertwee. The idea of a sort of Jason King with a sillier frock isn’t that seductive, really, is it? In fairness he carried a certain pompous gravitas and was charismatic enough to dominate the proceedings as the Doctor should. Had his notion of the character been less straightforwardly heroic he might have pulled off something a little more interesting. His Worzel Gummidge, after all,is inspired and wonderful.

4. Tom Baker. Thunderingly effective at the start, even if his interpretation did seem to alter entirely to fit this week’s script. (Compare, say, THE SEEDS OF DOOM and THE CITY OF DEATH. Is this supposed to be the same person?) I think I’ve said quite enough already about his sad decline so let’s just say that it’s nice to see him back on top form in Medics. Well, is was while it lasted.

5. Colin Baker and Sylvester McCoy. Miscast and floundering. Neither made much impression on the role and none at all on the audience. Or at least on me.

So with this in mind its not hard to see how the feminists and SJWs were able to bully Moff into changing everything about Doctor Who. Someone who actually cared about Doctor Who would have stood up to them, but Moff who liked the show, but ultimately was embarrassed by it was happy to change it to fit the tastes of what he thought were the current generation of “cool kids”.

New Who to be fair was always run by self loathing fanboys, hence its willingness to throw away time honoured traits of the character of the Doctor such as his asexuality, in order to appeal to the youth. It worked for a short while in the Eccelston and Tennant eras, but ultimately when you run a show that way you are going to put money on the wrong horse, and that’s what happened when Moffat, like all celebs sealed off in their own little bubble, thought Social Justice was what the kids were into, and wanted to win favour with them.

The same is true for other franchises too such as Star Wars, where the self loathing fanboys like Wil Wheaton have at the very least shouted down all fans who have ANY complaints as sexists and bigots.

If it weren’t for the self loathing fanboys then our greatest sci fi franchises like Doctor Who and Star Wars would not be in the awful state they are in right now.

Even long before the SJWs showed up however the self loathing fans were responsible for some shitty remakes and sequels. The 98 Godzilla was an example of self loathing fanboyism for instance.

Dean Delvin its writer was a big Godzilla fan, yet he was embarrassed that if he actually made Godzilla, then people would laugh at him, or it wouldn’t do well. So he decided to change Godzilla to be more like Jurassic Park (which was popular at that time. Still is of course, but that was the height of Jurassic Park mania.)

The current unholy trinity of self loathing fans, SJWs and Shipper fans has led to the devastation of franchises like never before and its time that the purist fans started to fight back.

Thank you for reading.

My Own Fiction

I’ve been out of action for the past few months. 2018 has unquestionably been the worst year of my life. Not only have I had to deal with yet another bout of depression, but three close family members have also tragically come down with very serious, life threatening illnesses in the last month.

Needless to say I might not be back for a long while. In the meantime however I have decided share some of my own fiction here. I wrote all of these stories many months ago, but recently I decided to split them up into chapters.

Originally I wrote them all as one story, but they were all a bit too much in one go, so I hope this way they are more digestable.

These are all the very first stories in their respective series. Please let me know what you think.

The Circus Master: The Curse of Lakos

The town of Lakos has existed for the past several hundred years isolated from the horrors of both the world of man and Demon alike. Now however that’s about to change when the Circus of Csaz comes to town. The people’s only hope is an embittered, broken Warlock named Mestron. Can they trust him? And just what is the secret behind the Circus Folk.

The Curse of Lakos Part 1

The Curse of Lakos Part 2

The Circus Master: Part 3

The Circus Master Part 4

Robin Hood Vampire Killer: The Phoney Vampire King of England

Albion in the 12th century is a land in chaos. Its rightful king is waging a war half way around the world, most of its people are living in poverty, and bloodsucking monsters hold all the power.

Albion’s only hope is a former outlaw and lord, Robin of Loxley. 

Robin Hood Vampire Killer: The Phoney Vampire Killer of England Part 1

Robin Hood Vampire Killer: The Phoney Vampire King of England Part 2

Robin Hood Vampire Killer: The Phoney Vampire Killer of England: Part 3

Robin Hood Vampire Killer: The Phoney Vampire King of England Part 4

 

 

I’m Back

I’ve been very quiet on this and my other blogs recently. Its not because I no longer enjoy doing them. I’ve had quite a rough 2018 so far with my depression having returned. I simply didn’t have the energy to devote my time to my work here, but fortunately I’m feeling better and there will be more articles coming soon.

I also hope to share some more of my original fiction here soon too.

 

Stock Characters in Vampire Fiction

 

Image result for peter cushing van helsing

 

Image result for Buffy Summers

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Vampires are unquestionably the most popular supernatural creature. There’s far more you can do with them than you can with other favourites like say Werewolves, Zombies and Ghosts. Vampires can be both the perfect hero and the perfect villain. They can also be integrated into far more settings than many other types of monsters. There have been Vampire westerns, Vampire spy stories, Vampire detective stories, Vampire teen dramas and even Vampire superhero films.

Despite this however there are still a number of character types that we see replicated again and again in many of the most celebrated Vampire stories across all mediums, and in this article I am going to run through them, how they came into being, the most famous examples, as well as what my favourites are.

Just about any popular piece of Vampire fiction of the last 100 years or so will usually have at least two or more of the following characters. I’m not knocking them for doing this of course. I’ve used many of these characters in my own Vampire fiction and I’ll do so again. You don’t have to be totally original. As long as you do something new and interesting or even just enjoyable with an old idea. Who cares?

Still the following character types certainly seem to be the most popular with authors of Vampire fiction. Many of these character types may also be blended together as well, but these basic templates always persist.

We will also be looking at characters in some non Vampire, but supernatural series like Charmed. After all though they may not have Vampires as the main villains, they still ultimately follow the same tropes laid down by Vampire stories.

Also most supernatural series tend to feature a kitchen sink of supernatural creatures too. Even if they aren’t the main threat or focus, Vampires, Demons, Zombies, Ghosts, and Witches are bound to appear at some point in your average supernatural themed series these days anyway.

The Good Guys

1/ The Peter Cushing Style Mr Exposition Guy

Image result for Rupert GilesImage result for Peter Cushing Van Helsing

Originator: Peter Cushing’s Van Helsing (obviously)

Other Notable Examples: Rupert Giles (Buffy the Vampire Slayer), Professor Grost (Captain Kronos Vampire Hunter), Abraham Whistler (Blade franchise) Wesley *Wyndam Pryce (Angel), Bobby (Supernatural), Master Kau (Mr Vampire), Professor Abraham Setrakian (The Strain) 

Peter Cushing’s iconic performance as Van Helsing in 5 Hammer Dracula films, “The Horror of Dracula”, “The Brides of Dracula”, “Dracula AD 1972”, “The Satanic Rites of Dracula”, and “The Legend of the 7 Golden Vampires”, helped to lay down the template not just for this type of character, but Vampire hunters in general in popular culture.

Prior to Cushing’s performance as Van Helsing, the Vampire hunter was not really a classic horror movie character. There had certainly been no films that featured a Vampire hunter as a main character. In the classic Universal horror movies, the monsters were always killed by angry villagers, the bland leading man, their own loved ones, or by themselves.

Their deaths were also always presented as tragic moments, with the audience almost always having sympathy for monsters like the Wolfman, the Frankenstein’s Monster and Dracula’s Daughter when they died.

The character of Van Helsing obviously did exist in both Stokers original novel, and the 1931 adaptation of Dracula starring Bela Lugosi, where he was played by Edward Van Sloan.

Still he was very different to the Van Helsing we would later recognise from popular culture. He wasn’t a Vampire hunter per se. He was simply an eccentric scientist who had many interests, with study into the occult being one of them. He lives an otherwise normal life, and certainly has not devoted his existence to hunting the undead. Indeed Dracula is the first Vampire he has ever actually encountered.

Though he does supply our heroes with the knowledge needed to defeat Dracula, and slays the Vampires three brides, he is ultimately not the one who finally kills Dracula in the book (though he does offscreen in the 1931 film.)

Cushing’s Van Helsing meanwhile was re-imagined as being someone who did devote his entire life to destroying Vampires. Cushing’s Van Helsing, travelled from town to town hunting them, believed it was his duty to exterminate the undead from the face of the earth, and was also a much younger character who would fight the monsters in one on one conflicts. Finally he was also presented as Dracula’s ultimate nemesis who fought with him many times, and was the only person who could match the legendary king of the Vampires.

Cushing’s Van Helsing was also the lead character, and played by a far better known actor than the one who played Dracula. (At that point Christopher Lee was virtually an unknown, whilst Peter Cushing was a very well respected television actor.)

This would pave the way for other films and television series in the ensuing decades to focus on the Vampire or monster hunter, rather than always the monster such as Buffy, Blade, Charmed, Evil Dead, Mr Vampire film series etc.

Added to that traits of Cushing’s Van Helsing, specifically the person who travels from town to town, saving people from Vampires, yet is often blamed by the ignorant locals for the killings the Vampires carry out (as he is always there at the scene of the crime.) Can be found in characters like the Winchester brothers from Supernatural, Captain Kronos, Blade and Whistler and even Ash from the Evil Dead franchise.

Cushing’s Van Helsing is really the daddy of all Vampire/monster hunters, but whilst his influence is far and wide reaching, I think its fair to say that he created a very specific type of Vampire hunter that we have seen replicated in certain characters more than others.

Cushing’s Van Helsing was very much a British gentlemanly, stiff upper lip, no nonsense, serious, dedicated character. There wasn’t any room for little quips, or jokes after he slew a monster like there would be with later characters such as Buffy, Blade, the Winchesters and Ash.

He didn’t hunt Vampires because of some vendetta, or because he was the chosen one or anything like that. Van Helsing simply felt it was the right thing to do to free the world of this unquestionable evil, and he never complained about not being able to have a normal life, or wanted to give up being a Vampire killer either.

At the same time however Cushing’s Van Helsing could also appear somewhat cold and ruthless. He is so utterly devoted to destroying Vampires that at times it could seem like he was willing to do anything. In the above clip for instance he is willing to leave Lucy in her nightmarish state as a Vampire for a short while longer to track Dracula. His actions make sense of course, but understandably to those who knew and loved her in life, it seems abhorrent to even suggest leaving her like this. Even when Van Helsing stakes Lucy at Arthur’s request, we still see a slightly colder side to him.

When she screams in agony, her brother Arthur can’t even look, but Van Helsing doesn’t react at all, showing how hardened he has become to the horrors around him.

Cushing’s Van Helsing had a will of absolute iron. Very few things could faze him either emotionally or physically. We can see this in The Brides of Dracula when after having been bitten by Baron Meinster, Van Helsing rams a seering piece of hot metal into his throat to cauterise the wound.

Cushing’s Van Helsing also whilst being able to take care of himself in a fight, lacked the super strength, and cool gadgets of later Vampire hunters like Buffy and Blade. Instead he had to rely on his wits and knowledge of the Vampires weaknesses. Killing Vampires, even the lowliest minion of Dracula was shown to be a dangerous, drawn out process in the Cushing movies. It wasn’t something our hero did in spades to show how badass they were like with later Vampire killers such as Blade or Buffy.

Van Helsing genuinely felt like he was fighting for his life, and he was famous for often being forced to improvise and turn anything he could into a weapon against Vampires, from candle sticks, to the sails of a Windmill, (both of which he used to form a cross), to mirrors that he used to deflect sunlight onto a Vampire, to even a shower (with clear running water being a weakness of Vampires in Hammer movies, which is something I always personally hated as it kind of undermined their menace.)

At the same time however underneath Cushing’s Van Helsing’s level headed, rational, seemingly unbreakable exterior, lurked a great anger and passion. Whilst he isn’t motivated by hatred, sometimes his strong sense of morals cause his disgust towards the monsters he fights to push him over the edge.

Cushing’s Van Helsing was also in the movies Dracula AD and Satanic Rites of Dracula, a very paternal character. In both movies, Dracula seeks to make his grand daughter, Jessica, into a Vampire to punish the entire Van Helsing family.  The later Van Helsing movies with Cushing, which were made when he was older also show him take on the role of a mentor, even father figure to the young action heroes such as in The Legend of the 7 Golden Vampires.

Cushing’s Van Helsing, much like his literary counterpart is obviously the worlds greatest expert on Vampires, Demons and the supernatural in general. He has an entire library on the paranormal, and would often have to explain how to kill Vampires both to the other characters and through them, the audience too.

Finally Cushing’s Van Helsing, whilst viewing Dracula and the other monsters he faces as repugnant, nevertheless is somewhat fascinated by them. Studying and fighting Vampires is a moral crusade he feels he must do for the good of humanity, yet its also bizarrely a hobby for Van Helsing too.

You can see all of these traits replicated beat for beat in many leading and supporting Vampire hunter characters.

Master Kau played by the late Lam Ching Ying, the main protagonist in the classic Chinese Mr Vampire film series followed Cushing’s template perfectly.

Kau was a taoist priest who fought Vampires, Ghosts, Demons and other monsters. He used a variety of spells and enchantments to not only slay monsters, but tame them. He even kept some tame Vampires as pets. In the movie Vampire vs Vampire, his adopted son is a friendly Vampire child called “Wee Okay Boy”.

Obviously Mr Vampire was a brilliant character and Lam Ching Ying brought an incredible physicality to the role. Still you can see how he was essentially a Hong Kong version of Van Helsing.

Kau much like Cushing is an ultra serious, no nonsense Vampire killer. He hunts Vampires, Ghosts, and Demons much like Van Helsing because he thinks it is the right thing to do. Kau even has compassion for the monsters he hunts. He doesn’t see them as monsters, more souls that are not given a chance to properly rest.

At the same time however just like Cushing’s Van Helsing, Master Kau can come across as a ruthless, callous individual at times because he is so dedicated.

In the movie Spooky Encounters, Master Kau tries to exorcise a young Ghost lady who is not doing anyone any harm. In fact she still looks after her ill mother who is unaware that her daughter has died.

Kau however not only tries to banish her, but also reveals that she has died to her mother which breaks the mothers heart. Kau’s own assistants even attack him for his ruthless actions, but we later discover that he was actually protecting both the mother and her daughter. In the Mr Vampire universe, Ghosts regardless of whether they are evil or good will draw the life out of whatever human they spend too much time with.

Ironically this was why the Ghosts mother was ill in the first place, with the daughter being unaware that she was actually killing her own mother.

Whilst much like Van Helsing using Lucy to find Dracula, Kau may have seemed callous to the family of the loved one who had been cursed, he was ultimately helping them.

Just like Cushing’s Van Helsing there are times when Kau can blow his top despite his iron will and serious demeanour, though usually its in more comical ways, directed towards his bumbling assistants.

Master Kau is also someone who despite being a devastating fighter, is not able to kill Vampires in a straight fight, and often has to use his wits and resources to bring them down.

Finally Master Kau much like Cushing’s Van Helsing is not only portrayed as the greatest expert on Vampires (and thus has to provide exposition on the monsters.) But he also is a much older character and serves as a mentor, even father figure to the younger monster hunters around him, such as Sammo Hung’s character, “the fat man” who appeared in various Hong Kong horror movies.

Whilst they may not have become mainstream hits in the west, the Mr Vampire movies still nevertheless have a huge global following, and among genre fans around the world, Lam Ching Ying is usually regarded as one of the greatest on screen Vampire hunters of all time.

Rupert Giles is obviously another iconic Vampire hunter that follows the Cushing template to a T. (Joss Whedon even based Giles somewhat on Cushing’s performance as Van Helsing, and indeed the Watches Council who originated from Britain were essentially an organisation of Peter Cushings.)

Giles much like Cushing’s Van Helsing is a British gentlemanly expert on Vampires, who has countless books on the subject and who often has to give exposition to Buffy, her friends and the audience on Vampires, Demons and other monsters.

Giles just like Van Helsing is also somewhat fascinated by the supernatural creatures he faces. He even smiles with delight when finding out that there is a Werewolf loose in Sunnydale, commenting that he’s pleased to get a chance to read up on one of the classic monsters, with Buffy commenting “he needs to get a pet”.

Giles hunts Vampires and Demons because he believes it must be done to protect humanity just like Van Helsing too rather than because of a vendetta, or because its his calling. He also has to often convince Buffy to fight them in the earlier episodes and even just take her calling seriously.

Giles like Cushing’s Van Helsing is also much older, ultra serious, no nonsense character, who generally keeps a level head in tense situations.

However once again like Cushing’s Van Helsing, when his loved ones are threatened, he can completely lose it as seen when Angelus murders his lover Jenny Calendar and Giles responds by burning his house down, and beating the Vampire to a bloody pulp with a flaming baseball bat!

Giles like Peter Cushing’s Van Helsing is more than capable of fighting and killing Vampires, but again he obviously can’t take on hordes of them at once, so he tends to have to rely on his wits and skill more when fighting one.

Giles can also like Van Helsing and Master Kau can appear quite ruthless and callous at times. Indeed all Watchers in the Buffyverse are. A Watcher’s job is to basically go to a 16 year old (sometimes even younger) girl, take her away from her family and tell her that she needs to spend the rest of her, (consequently very short), life fighting Vampires and Demons.

There are many examples of Giles clashing with Buffy and other characters over his more callous methods, such as most memorably in the classic 5th season finale, The Gift. Here Giles is actually willing to murder Buffy’s 14 year old sister, Dawn Summers to save the world. Again his logic is sound just like Van Helsing’s with Lucy’s or Kau’s with the Ghost Lady, but its still pretty shocking to see Giles, argue in favour of murdering someone who is essentially like a daughter to him. “Yes we bloody well are!

Dawn isn’t the only member of the team Giles is shown to be willing to sacrifice however. In season 7 he actually attempts to kill Spike, along with Robin Wood, when Spike becomes a liability to the team thanks to the Firsts ability to control Spike.

Then of course there is Giles ruthless murder of Ben, the human host of the evil Goddess Glory, (the most dangerous, and powerful adversary of Buffy at that point.)

Finally Giles much like Cushing’s Van Helsing is also a fatherly figure and mentor to those around him, such as Willow, Faith, Anya, Dawn and of course Buffy Summers herself.

Wesley who began on Buffy and later crossed over onto Angel also followed this template. Not quite to the same extent of course. Wesley was a younger, more naive character than either Cushing, Kau or Giles, and when he did toughen up in the later series he became a much harder, more violent, even unstable character.

Still Wesley like Cushing, Giles and Mr Vampire is an expert on the occult. Like them he regards Vampires, Demons and the supernatural as evil monsters that have to be destroyed, but he is also fascinated by them, with study into these creatures being his greatest passion. In contrast to Buffy who wants to always quit being a slayer, in both instances when Wesley gets fired by Angel, he honestly doesn’t know what else he can do with his life.

Wesley is also obviously very much the stiff upper lip, ultra serious Vampire killer. Though there is some humour with the character, its more unintentional on his part, like when he dances and he has no idea how stupid he looks.

Wesley still takes hunting monsters 100 percent seriously and never makes jokes or anything like Buffy.

Wesley is also shown to be very ruthless and callous just like Giles in both Buffy and Angel. He is happy to leave Willow in the care of the Mayor and Faith (who will surely torture and kill her) to stop the Mayors plan. He also memorably steals Angel’s child to avert a prophecy that Angel will murder his own son, and doesn’t hesitate to strike the Demon Illyria in the head with an axe whilst it has taken control of the woman he loves, Fred (for all the good it does).

Abraham Whistler meanwhile also fulfils a similar role to Blade. In the classic 90s Spider-Man series where the character was introduced and voiced by actor Malcolm McDowell, he was very much a prim and proper older British character like Cushing and Giles. He was also a scholarly expert on Vampires who supplied Blade with knowledge on how to fight Vampires and weapons. He was also both a mentor and father figure to Blade.

In the 90s/00s Blade movie series, the character of Whistler was played by American actor and was re-imagined to be a lot more rough around the edges. His cause for hunting Vampires is also a lot more personal in the film series as well. Still he nevertheless serves as the older, father figure to Blade and the expert on the occult too.

Finally the character of Bobby from Supernatural also fits this template too as again he is the older, father figure to the Winchesters, the expert on the Supernatural, the character who can’t slay Demons as easily as the young heroes, but is still as tough as an old pair of boots and wiley.

The Peter Cushing character is probably the most prolific Vampire hunter character in all of fiction. Most Vampire hunting teams from the Scooby Gang, to Angel Investigations, to the Nightstalkers will have a Peter Cushing type, stuffy old English guy, with countless books on Vampires, who knows everything about them, and serves as the father figure to the group as a whole, and who keeps them in line.

The reason for this is because the Peter Cushing character, unlike a lot of other Vampire hunters who tend to always take centre stage, can be both a leading character and a pivotal supporting character.

There are many advantages to having him as the lead over other Vampire hunters. The Vampires are at their most terrifying when he is the leading character, as again he genuinely struggles against them, unlike the later superhero Vampire hunters such as Blade and Buffy who can undermine their menace when they curb stomp 20 of them without breaking a sweat.

Of course I love these brilliant fight scenes as much as anybody else, but you can see what I mean. Vampires in these instances do kind of become less threatening as we always see them get mowed down in droves. And its by someone who is making jokes about how easy it is to kill them!

With the Cushing character as the lead however you get the impression that taking even one Vampire on requires the utmost preparation, training and knowledge, and even then its still a dangerous experience.

Still in the stories about more modern superhero Vampire hunters like Buffy and Blade, the Cushing character is not obsolete. In fact he is probably the most essential after the main hero themselves, as its through him that the writer can explain what is going on, and develop their own supernatural lore and mythology.

Personally I’d say this is my favourite type of Vampire hunter. I’ve always loved the more old fashioned, fatherly, somewhat eccentric professorial type of hero, who relies more on his wits like The Doctor, and Sherlock Holmes (its no surprise that Peter Cushing played both of these characters too.)

I think it would be interesting to see some more female counterparts of this type of character. I’m not saying that I care about representation or anything self indulgent like that, but since these characters are always men then it might be quite interesting to see a woman play a similar type of character of the old wise mentor, who has to survive on her wits rather than physical strength, and is actually interested in studying the occult.

Of course again rather than just lazily turning an existing male character into a woman, it would be interesting to see someone come up with a new female character like this.

We have seen at least one female version of the Peter Cushing style monster hunter already. The main heroine in Roald Dahl’s version of The Witches. Simply referred to as the Grandmother in the novel, and Helga in the film, she is really a female Peter Cushing almost beat for beat.

She is an expert on Witches, Ghouls, Demons and various other supernatural creatures. Like Cushing’s Van Helsing, she finds them evil and loathsome, but at the same time, has a weird fascination with paranormal creatures. You can sees this when she tells her grandson about the Witches. She clearly LOVES to talk about them.

She also obviously fulfils a parental role to the main character of the novel, (who is named Luke in the film adaptation.) Not only is she his grandmother, but she also raises him too after the tragic death of his parents.

The Grandmother also has a very similar dynamic with the Grand High Witch that Peter Cushing’s Van Helsing had to Christopher Lee’s Dracula in the modern day Hammer horror films.

Both are sworn archenemies who have faced one another many times in the past. One is the old wise Monster hunter, the other the dark, alluring, but utterly loathsome leader of a group of famous monsters, Vampires and Witches.

In both cases the leader of the monsters even targets the grandchild of their archfoe, (Jessica Van Helsing, and Luke respectively.) The monster in both cases foolishly thinks that because their archenemy has now aged and seemingly become frail, that they can’t possibly threaten them, which ultimately allows their old foe to outwit and destroy them once and for all.

Both letting us know what goes bump in the night. 

Both dropping the ball and letting their archenemy get near their grand child.

Both destroying their archenemy in a very undignified and unpleasant way. 

In the film adaptation, the Grandmother was played by the late Mai Zetterling, whilst the Grand High Witch was played by Anjelica Huston.

Both were brilliant in the roles, and to be honest I think Anjelica Huston as the Witch scared me when I was younger more than any Vampire. I mean I love Vampires the most, but all a Vampire can do is just kill or torture you. Being trapped in a painting for 60 years like Erica however is much worse!

Imagine being trapped in one little farmhouse, with nothing to do, no one for company, and worse, being forced to watch the world go by, knowing that all the years of your life were being wasted, watching your family grieve for you. I’d take getting strangled to death by Christopher Lee over that any day.

Sadly however whilst The Witches is rightfully regarded as a cult classic, the Grandmother character hasn’t really entered into popular culture like Van Helsing or Rupert Giles, so this character still tends to always be a guy in most works.

The Outcast, Freak, Good Guy Vampire/Supernatural Superhero

Image result for Angel buffyImage result for Blade

Originator: Vampirella

Other Notable Examples: Blade (Marvel), Lilith (Marvel), Angel (Buffy and Angel), Spike (Buffy and Angel), Cole (Charmed), Castiel, (Supernatural), Hellboy (Hellboy), Spawn (Spawn), Crowley (Supernatural), D (Vampire Hunter D)

This character in many ways took over from Cushing’s Van Helsing as the new main male hero in Vampire fiction.

This character is usually a Vampire, but he may be some other type of supernatural creature (a Demon is usually the most popular after a Vampire.)

This character is a member of a race that is normally completely evil, but for some reason, he will be a good guy. He will also as a result have devoted himself to fighting other evil members of his kind and ultimately wiping them out. His Vampire or Demon powers will obviously make him a great asset, if not the greatest asset to any team of Vampire hunters he is a part of.

Sometimes this guy will be good just through his own force of will, but usually its because there is something special about him. He may be half human, (Angel who has a human soul, Blade who has a human mother, Cole whose father was human, or Castiel in season 5 when his powers are stripped.) He may have been raised by humans (Hellboy) or he may have been experimented or cursed on and be forced to reluctantly fight the good fight (Crowley, Lilith, Spike, and to some extent Angel too, who only became good after the Gypsies cursed him.)

Point is these creatures are viewed as freaks by the rest of their kind regardless if they are good or not which is partially why they are on our side. Your regular Demon, Vampire, even Angel will refer to this character as a traitor, freak, or mock their humanity.

We can see this the way that Darla tries to kill Angel when he has a soul, the way that other Vampires call Blade “the Daywalker” with disgust, and perhaps most notably in the brilliant Vampire Hunter D series of novels, where the main protagonist D, is a Vampire/human hybrid that both Vampires and humans regard as a filthy mongrel.

Of course ironically when this character embraces his evil side, he will actually be among the most evil of his kind (Angelus the most flamboyantly sadistic Vampire, Cole who was one of the Charmed ones most dangerous enemies and killed hundreds of Witches, Crowley who was one of the Winchesters most evil and dangerous adversaries.)

This character may have even started out as the most dangerous enemy of the heroes (Spike, Crowley, Cole) and they may also flip flop between being good and evil. This usually won’t be their fault. They will often be taken over, or lose their humanity in some magical way. For whatever reason they will be the most unpredictable member of a monster hunting team, and will usually be disliked, or at least not trusted by most of the other members.

Look at Angel famously going bad in season 2 of Buffy, all the times Castiel has fucked up badly for the Winchesters, Spike going evil in season 7 of Buffy thanks to the First, and the many, many, many times that Cole flipped from good to bad.

There will usually be one member of the team who is loyal to this monster above all else, even when it would probably be better for them to just get rid of him, they’ll still protect him. Examples of this obviously include Buffy with Spike and Angel, Phoebe with Cole and even in a non romantic way, Dean with Castiel.

Of course the person who defends this benevolent monster will also later after one too many betrayals come to hate their former friend/lover more than anyone else, and may even try and kill them.

This character also has a habit of dying (after being killed by members of the team) and coming back again and again too.

In many ways its not hard to see why this character ended up becoming the most popular leading male character in modern Vampire fiction.

I personally prefer the Cushing/Van Helsing Vampire killer (though I do love this type too of course.) Still this character was a lot younger, more romantic, and could also take Vampire movies into more of an action oriented direction, allowing them to properly compete with big blockbusters and franchises.

These characters could jump through the air, beat up dozens of Vampires at once and withstand getting shot by hordes of bullets, and thrown off of buildings!

Whilst this character is almost always male, its worth noting that the first ever version of this type of character was actually a woman.

Vampirella, created in the 1960s, was really the first Vampire superhero. We had seen good guy Vampires before of course, but none of them had been comic book characters who used their Vampire powers to fight other Vampires, and other supernatural creatures such as Demons.

Still whilst Vampirella initiated the idea, it was definitely Blade that set the template that these characters were to follow.

Originally introduced as a supporting character in Marvels Tomb of Dracula series. Blade was initially not a Vampire/human hybrid.

In the comics his mother, whilst pregnant with him had been bitten by the Vampire Deacon Frost. She died just after giving birth to him and Blade as a result would gain some Vampiric powers. He aged much slower than a human, and he was also immune to a Vampires bite too.

It was in the classic 1990’s Spider-Man The Animated Series however that Blade was re-interpreted as a half human/ half Vampire superhero. In this series his origins were altered. Now his mother had fallen in love with a Vampire and bore him a child that she later abandoned.

This child had the superhuman strength, speed and healing of a Vampire, but none of their weaknesses. Sadly he also inherited their inhuman thirst for blood, which he has to suppress every day. Blade (real name Eric Brooks) was later found by a man named Abraham Whistler who trained him to fight other members of his kind, as well as other supernatural threats.

Elements of both the animated and comic book origin were later fused together for the Blade trilogy starring Wesley Snipes, with its version of Blade’s mother being bitten and killed by Frost like the comic book version, but Blade also becoming a full Vampire/human hybrid as a result like his animated counterpart.

With Blade you can see so many traits of later characters like Angel. He is a miserable, brooding loner, who is scared of getting close to people, his attempts to control his thirst are treated very much as a metaphor for a recovering alcoholic, and even in terms of his look, Blade dresses in long, black, leather and trench coats too, which is usually the look for these types of characters like Spike, Angel and Cole.

Blade had a huge influence on Angel in particular. There are some strong similarities in their story arcs.

Both Angel and Blade are special, human Vampires who can feel guilt and sorrow for their actions, and both end up living in the gutter, until they are found by a man, who in both cases is named Whistler, who takes them off the streets and teaches them to control their thirst and use their powers for good.

Joss Whedon was/is a massive fan of Blade and Tomb of Dracula and has mentioned it as an influence on the tone and style of Buffy.

Of course Angel would also add a lot to this character too. He would add more of a romantic aspect to this character, which wasn’t really there with Blade.

There have been a few other female examples of this type of character aside from Vampirella. Lilith, Dracula’s anti hero daughter in Tomb of Dracula, who predated Blade was another example. In fact Lilith in some ways actually has more in common with the Blade of both Spider-Man the animated series and the later films than the comic book version did.

She like him is a half human, half Vampire that shares all of their powers, and none of their weaknesses. She also shares their thirst which she struggles to control, and she regularly feuds with her parent who is a Vampire (Dracula in her case, Mirum in Blade’s.)

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Lilith, the original Daywalker.

Ruby played by Lucy Lawless (Xena the Warrior Princess) from Ash Vs Evil Dead also loosely fits this template.

Still overall this character is usually male, perhaps because it tends to be more popular among female viewers ironically when it is male.

It makes sense in a way. As this character will also often be in love with, or utterly devoted to someone to the point where it takes over their entire character like Cole and Spike, a lot of young female viewers would probably find it demeaning to see a woman chase a guy all the time, and even get punched in the face by him, yet still come back for more.

When its a guy however, then that coupled with the fact that he is a badass monster killer, ( and not completely just some creepy guy who is obsessed with her.) And is willing to die for her, get tortured for her, fight off being a monster for her, can lead to this character becoming something of a romantic fantasy for young girls.

I’m not knocking the fan girls for this of course. Everybody has pin ups, its completely natural, and hey the need for this type of pin up has led to some great stories, like the whole Buffy and Angel story arc (which is my favourite story arc from Buffy.)

Still I think this could explain why this character is overwhelmingly male. It was really once the romantic aspect was added to this character from Angel on, that his fate as, as well a he, was solidified.

3/ The Reluctant Vulnerable Strong Female Hero

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Originator: Rachel Van Helsing

Other Notable Examples: Buffy Summers, (Buffy) Charmed Ones, (Charmed) Cordelia Chase (Buffy and Angel), Mandy (Mandy the Monster Hunter), Annie (Being Human)

This character is in many respects the polar opposite to the Cushing/Giles type of Vampire Killer.

This character to start with is obviously a woman. She is also much younger, more vulnerable and also above all else does not want to be a Vampire killer.

She just wants to have a normal life, and will still try to have one, even whilst fighting Vampires. In contrast to Van Helsing who devotes his every waking minute to reading about Vampires, this Vampire killer will be desperate to still go to college, have a relationship with someone who is not aware of the supernatural, have a family, and have a career outside of monster busting.

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At the same time however, whilst she might be more reluctant to fight the paranormal, she will also be the greatest Vampire fighter of them all. She’ll kill scores and scores of them without breaking a sweat, and strike fear into their hearts like no one else.

We can see these traits replicated in Buffy, the Charmed Ones and Cordelia Chase (who develops into this type of character on Angel) and Mandy the Monster Hunter. Incidentally whilst this character is obviously almost always female, we do see a few male counterparts too. Sam Winchester from Supernatural, in the earlier episodes at least tended to fall into this category.

Buffy was obviously the character who propelled this type of Vampire hunter into popular culture, but it is worth noting that she was not the first character like this. Rachel Van Helsing who appeared in Tomb of Dracula in the 1970s was kind of a proto Buffy in some ways.

Rachel was obviously the descendent of the legendary Vampire hunter, Abraham Van Helsing. The Van Helsing family in Tomb of Dracula were Vampire hunters even before Abraham, with Rachel merely being the latest in a long line.

Like Buffy however at first she doesn’t want to follow in her predecessors footsteps, but she soon ends up becoming Dracula’s new archenemy. Like Buffy she also has a Peter Cushing style, stuffy old English mentor who becomes like a father figure to her (Quincy Harker) and later a boyfriend (Drake) who feels inadequate compared to her as a Vampire hunter like Buffy’s boyfriend Riley.

Rachel much like Van Helsing was also created to try and reverse the image of the little blonde girl in horror movies who would always be lured away and torn to bits by the monster. This would be a common trait among other similar characters that would follow in Buffy’s wake too. They’d often take what had been seen as a weak, demeaning role for women and make it strong, such as Cordelia who was the stereotypical valley girl even after she matured.

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From Rachel Van Helsing, to Buffy Summers, to Mandy, to Phoebe Halliwell, the stereotypical image of young blonde women in Vampire and horror stories has certainly improved quite a bit in the last few decades.

Obviously of the two, Buffy was the better character, and again I’m not knocking Joss Whedon for possibly taking influence from Rachel Van Helsing. Everyone takes inspiration from something else and at the end of the day, for me Buffy and Angel are the greatest supernatural themed television series ever made.

Still its quite interesting that a lot of the things that Buffy became an icon for, Rachel Van Helsing did about 20 years earlier.

Whilst there are undoubtedly many reasons why Rachel is still relatively obscure and Buffy is beloved, I think that ultimately it can be boiled down to the fact that Buffy was her own character whilst Rachel was kind of trapped in the shadow of her more famous relative.

This Buffy/Rachel type of hero has really become the third main Vampire hunter character alongside the Cushing style exposition guy, and the freak hybrid Vampire hunter. Whilst Buffy is easily as well known as Van Helsing (and far better known than Blade or Angel or any other similar character.) Ultimately as this type of character was more recently introduced than the others, then we haven’t seen quite as many imitators yet.

There are some areas where the Buffy/Rachel type of character is superior to other Vampire hunters and others where she is weaker, depending on your tastes.

The Buffy type of hero will tend to drag supernatural stories into soap opera territory. Obviously a part of her character is that we focus on how she juggles her everyday life with being a monster hunter. We’ll see her struggle at college, at school, at her job, going on dates, or even just spend a lot of focus on her relationships with the people around her like her friends, her family etc.

Many fans and critics have said that they prefer this take on not just a Vampire hunter, but a superhero in general, as it helps to flesh these larger than life characters out more, make them seem more human, or even relatable.

Spider-Man similarly made a huge impression on young male readers for being a more vulnerable, down to earth, relatable hero back in the 1960s. In many ways Buffy is kind of like a female Spider-Man.

On the flip side however some people have criticised the likes of Buffy and the Charmed ones for being too whiny.

Whilst I agree at times we did see Buffy complain a bit too much about her calling, in some respects I think this actually made her seem more heroic than other Vampire killers.

The thing you have to remember about the Peter Cushing/Giles type of character is that they actually in some ways like the life they are living. Yes okay no one wants to see their loved ones hunted by Vampires, but as we have been over for a character like Van Helsing, Giles or even Helga from the Witches, they are actually interested in the supernatural. Their free time is spent reading books on paranormal creatures, they can’t wait to give a big bit of exposition about Vampires or Witches.

With the good guy Vampire character like Blade meanwhile, we similarly have someone who chooses to live that kind of life. Okay he doesn’t really have a choice, but still he doesn’t want to, or even know how to just settle down. He wants to go out there and kill monsters almost every second of every day.

With the Buffy/Rachel type of hero however, we have someone who could give it up if they wanted to, who never asked to be part of a war against the forces of evil, and who is basically having to give up all of her aspirations, hopes for a normal life, maybe even her loved ones simply because other people have decided her fate for her.

Its understandable that in contrast to a guy like Van Helsing, Buffy would be a little bit more bitter, and even just terrified. Still the fact that she always without fail, overcomes her fear, if anything makes her more heroic, and yes more human too.

I think the reason that Buffy/Rachel type of character, the Blade/Angel type of character, and the Cushing/Giles type of character have become kind of the big three for Vampire killer characters, aside from the fact that they have starred in the most popular Vampire franchises, is also because they all go really well together.

The Buffy/Rachel type of character being younger, more unsure of herself, obviously needs a paternal figure, and someone to tell her all about monsters, which obviously the Cushing/Giles character can do.

At the same time the Cushing/Giles type of character who is often older, even quite frail needs someone young and strong fight the strongest monsters and creatures out there, so the Buffy/Rachel character is just as useful to him.

Finally the Buffy/Rachel character and the Blade/Angel type of character are obviously a fantastic pair to put together. It can get complicated when you have a Vampire in love with a human, but having a Vampire be in love with the greatest Vampire killer of them all just makes it all the more uncomfortable for both characters, and consequently a more exciting dynamic for the viewers.

These three characters despite being polar opposites in some cases, are such a brilliant fit for one another that its no surprise that they are almost always put together.

The Buffy/Rachel type of character is unquestionably the most popular Vampire hunter of them all to more modern fans and viewers at least.

Young girls obviously love her, because she is not only an empowering role for women, but she is presented as being strong because she is feminine too.

Young boys meanwhile like her because of, well obvious reasons. She’s beautiful, strong, intelligent, down to earth, and brave.

Again the fact that she is more recent than other types of Vampire killers is why we haven’t seen quite as many imitators, but give it time.

The Buffy/Rachel character manages to bring Vampires and Demons into everyday surroundings like no other before her and so in that respect I think she will always be one of the most popular.

4/ The Vengeful Crusader

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Originator: Captain Kronos Vampire Hunter

Other Notable Examples: Blade (Blade), The Winchester Brothers (Supernatural), Jack Crow (Vampires), Tom McNair (Being Human), Kelly (Ash vs Evil Dead) Charles Gunn (Angel), Robin Wood (Buffy) Hansel and Gretel (Hansel and Gretel Witch Hunters)

This character is probably the most prolific after the Cushing/Giles character.

This character hunts Vampires and Demons because they killed somebody close to him in the past, usually a family member.

This character will have devoted the rest of their life to exterminating every single Vampire or Demon they find. They will often kill them in far more brutal ways too. In complete contrast to Cushing and Lam Ching Ying respectfully performing the last rites over a slain Vampire, these guys will blow bits of them off while they are alive, stab them hundreds of times, and burn them in holy water.

They will usually have the most impressive arsenal of Vampire and Demon hunting weaponry. Guns that fire stakes, bombs that filter out UV light, even water pistols filled with holy water!

The Vampire or Demon that killed their loved one will often be their archenemy who they spend years chasing. It will also often not just be any old Vampire or Demon that killed their loved one, but a legendary, feared monster, maybe even the leader of their race. It makes sense really as if this character is supposed to be the ultimate Vampire/Demon killer, then the Vampire/Demon that manages to avoid them would have to be pretty special too.

Also there is quite a nice irony that perhaps the leader of the Vampires/Demons who thought he would lead his race to glory, ended up creating their kinds worst nightmare without even realising it.

This character will also perhaps be a bit more ruthless in terms of dealing with human allies of Vampires and Demons. He will kill and even torture ordinary humans who choose to side with Vampires and Demons just as often. Sometimes the writer will use these scenes to show how unstable they have become in their hatred for the undead.

This character was really created by the classic and underrated Hammer Horror film, Captain Kronos Vampire Hunter.

Captain Kronos was essentially like the Winchester Brothers of the 70s. He was dashing, handsome, swashbuckler who travelled from town to town, hunting and killing Vampires alongside his Cushing exposition style, father/mentor figure Professor Grost.

Kronos was motivated by the death of his mother and sister at the hands of Vampires. Both were actually turned into Vampires, though we never see the Vampire that turned them.

He had special anti Vampire weapons, and he often killed them in more explicitly gory ways that reflected his anger towards the undead.

Other characters who would follow this template include Jack Crow, the main hero of John Carpenters overlooked cult classic Vampires.

Crow, played by James Woods, became a Vampire hunter when his own father was turned into a Vampire and killed his mother.

Jack now leads a team of Vampire slayers who kill the undead, first by unloading tons and tons of bullets into them until they can’t move before dragging them helplessly into the sunlight. He also collects their charred skulls as trophies!

Jack is even more vicious than Kronos. In one character defining moment, he goes as far as to torture a priest who with holds information about the leader of the Vampires from him. He beats the Priest, cuts him and tells him how as he had no trouble killing his own father who had become a Vampire, then he would have no problem killing him. The priest gives in almost instantly as he knows Jack isn’t lying!

In some ways Jack was actually my favourite example of this type of character. Others like Kronos, and the later Winchester brothers were still a bit too polished for what is supposed to be a dangerous, fanatical character.

Jack Crow however did seem in some ways as unpleasant as the monsters he was facing. You got the impression that fighting Vampires had crushed almost every bit of compassion out of him. All that’s left is just raw anger and hatred and that’s the only reason he fights Vampires. Its not even because he cares about helping people anymore.

Blade also followed this template to a degree too. Again Blade also obviously not only followed, but helped to set the good guy Vampire character template in popular culture. Still as I said in the introduction, many of these characters can be merged together, and with Blade he obviously followed the Kronos template as well as his own too.

Blade’s mother had been killed by a Vampire, and so he hunted them because he hated them (as well as because it was the right thing to do.) His mother had also been bitten by Frost, the leader of the Vampires too.

As you can see Blade also tended to kill Vampires in a slightly messier, albeit more creative way than the likes of Buffy and Peter Cushing and showed no mercy to their human allies.

Other more minor examples of this character include Robin Wood and Charles Gunn in the Buffy and Angel franchise.

The Winchester brothers from Supernatural meanwhile are probably the definitive take on this type of Vampire killer for most people.

Supernatural is after all the longest running paranormal themed series of all time (stealing that distinction from Charmed.) Like all long running cult series, its quality has gone up and down at various points, but overall I would definitely rate it as a classic series, and Sam and Dean Winchester are both brilliant characters. Jensen Ackles and Jared Padelicki’s chemistry is truly unique and the show overall has also offered some brilliant new takes on old classic monsters like Vampires and Demons.

Still Sam and Dean follow the Kronos template almost beat for beat. Both hunt Demons because their mother (and fiance in Sam’s case) were killed by a Demon (much like with Blade and Frost, it was the king of the Demons, Azazeal that killed their mother.) Both travel the road trying to find this monster, whilst hunting other Demons. Both have a Cushing style, exposition guy (Bobby) to help them, both have special anti Demon weapons. Much like Kronos they are presented as a more romantic interpretation of this type of character, as opposed to Jack Crow.

Whilst this character is usually a male, there are some female examples. A recent female example is Kelly from Ash Vs Evil Dead. Kelly’s mother and father were both killed by, and turned into Deadites and so much like Kronos and the Winchesters not only is she motivated by hatred, but she tends to kill her the Deadites in a lot more explicit ways (which is really saying something considering the Deadites are ALWAYS killed in gruesome over the top ways.) Kelly is also hinted to be a bit unstable too.

Dean Winchester and Kelly would make a brilliant couple. They are probably the most well matched pair of Vampire/Demon hunters along with Cushing’s Van Helsing and Helga from The Witches.

This character is quite a good compromise of the main three types of Vampire killer, which is probably why it is so popular among both writers and audiences.

Like Cushing’s character, these Vampire hunters are often ordinary humans and so they can’t just curb stomp Vampires and Demons like Buffy and Blade. The monsters still retain their menace, but at the same time, as these characters are often younger, and are equipped with special Vampire killing weapons, then they can be involved in more action packed sequences than the Cushing Van Helsing character can.

Also as he is younger, then he can be a much more conventional, romantic character too as seen with the Winchesters and Kronos, so you can retain the pin up and romantic elements of characters like Angel and Buffy too.

This character doesn’t always have to hunt Vampires, as seen with Sam and Dean, who though Vampire hunters, still hunt Demons and evil spirits more. Demons are also the monsters who killed their loved ones and who they have obviously have more of a personal hatred for.

The grown up versions of Hansel and Gretel, from the horror/action movie Hansel and Gretel Witch Hunters meanwhile fulfil this trope perfectly but they obviously hunt Witches instead of Vampires.

5/ The Slacker, Every Man, Bumbling Hero

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Originator: Ash Williams

Other Notable Examples: Xander Harris (Buffy), Doyle (Angel), Fatman (Close Encounters of the Spooky Kind), Shaun (Shaun of the Dead)

This character is usually male. He’s not exclusive to Vampire stories, but since he does tend to pop up in a lot of Vampire/Demon stories then I felt he should be included here.

This character is obviously not the worlds greatest expert on the occult like Peter Cushing, he’s not the chosen, greatest hero of all time like Buffy, and he’s not a badass, super strong Vampire. He’s just an ordinary guy. He’s not even particularly fit or strong, and doesn’t seem to be that bright. In fact on paper he seems to be quite down on his luck, is maybe is a bit of a nerd, if he has a job, then its a low paying one, and even among his friends, he is generally seen as a bit of a moron.

He will also have an eye for the ladies, but unlike with Dean Winchester and Spike, they usually won’t like him.

Of course when the chips are down he will end up being brave, resourceful and a hero, though he may fuck up a few times along the way and even make things worse before he makes it better.

This character was really brought into the horror genre with Ash Williams, the main protagonist of the classic Evil Dead franchise, played by Bruce Campbell.

Ash was just an ordinary guy who had been thrust into a horrible situation, when all of his friends (and even his sister and girlfriend) are possessed by the spirits of Kandarian Demons.

He stumbled his way through the situation, fucked up lots of times, and even lost his hand (which he later replaced with a chainsaw.) Still throughout it all he did always try and do the right thing, and gradually over the course of the three movies and later tv series he did become a more competent hero, thought he never becomes a full blown conventional hero. He doesn’t always save the day, still tends to bumble his way through things, and also has a more childish, jokey attitude towards the paranormal than other characters like Dean Winchester or Van Helsing.

The massive influence of the Evil Dead series on popular culture would see similar characters like Ash emerge in heroic roles, such as Xander from Buffy, and Shaun from Shaun of the Dead.

All of these character thought distinct, do still kind of follow the Ash template of not being trained monster hunters, being more jokey in the face of danger, screwing things up and making them worse, being seen as an idiot by people around him, but still being brave and occasionally saving the day through his hidden intelligence.

Whilst Ash was really the template for this type of character in western horror movies, he was predated by Sammo Hung’s character, simply referred to as the Fatman who appeared in various Chinese horror movies, Close Encounters of the Spooky Kind, Spooky Encounters, and The Dead and the Deadly.

This character was a well meaning, but slow witted normal man, who again had to stumble his way through his battles with monsters, Demons and Vampires.

In Spooky Encounters, the Fatman would develop a father son relationship with Master Kau from the Mr Vampire series. The bumbling, every man hero often goes well with the Cushing style Vampire hunter. The Cushing character can serve as a stern father figure to him, give him a chewing out when he fucks up, and generally keep him in line, though at other times, the more down to earth, normal character can put the stuffy, pompous, Cushing style hero in his place too. We see this dynamic with Giles and Xander in Buffy too.

Whenever this character is the lead then the story has to be a bit more comedic. Close Encounters of the Spooky Kind, The Evil Dead, and Shaun of the Dead are all horror comedies, and Xander also tended to bring the comic relief to many episodes of Buffy.

6/ The Magic Junkie

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Originator:  Father Shandor

Other Notable Examples: Willow Rosenberg (Buffy), Sam Winchester (Supernatural)

Though not as common as other examples, this character has appeared in a few prominent pieces of Vampire fiction.

Essentially this is someone who tries to fight fire with fire. They’ve seen how their friends struggle against the forces of darkness and come to believe that ordinary people will never be able to take down Vampires, Demons and Monsters, so they will turn to the black arts to fight them.

Their friends will warn them about this. Maybe even fall out with them, or shun them, or abandon them over it, but they will still think they are doing the right thing.

Father Shandor, who first appeared in the Hammer movie, Dracula Prince of Darkness was really the first example of a character like this.

In the movie he was played by Andrew Keir, and was a bad tempered, shotgun wielding monk who had little time for the idiots around him. Despite his rough manner however, he was still nevertheless a brave and heroic individual who eventually slays the newly resurrected king of the Vampires, Count Dracula.

The character proved popular enough that he would be given his own spin off comic book series, Father Shandor Demon Stalker.  In this series Shandor travels to a Demon dimension in order to rescue his friend who has become trapped there after a spell went wrong.

Shandor is despised by all of the other priests in his monastry for using the black arts, even though he only does so to fight Demons and Vampires. Though Shandor is successful in rescuing his friend from the hell dimension. In the process he is cursed by a Demon and when he returns to our universe, he finds that he cannot touch anything without killing it.

Banished from the Monastry and human society, Shandor goes on to travel the world using his new Demon powers to continue to fight the forces of darkness.

Whilst Shandor was a very original character at the time, sadly he is a relatively obscure character today. It would really be Willow Rosenberg that would propel this character into being one of the classic stock paranormal hunters.

Willow, played by Alyson Hannigan, was Buffy’s best friend. Though initially being nothing more than a computer whizz, Willow over the course of the shows 7 seasons, slowly became an incredibly powerful Witch.

Much like Father Shandor, Willow initially believed that she had to use her magic to battle the forces of evil, and she was a valuable ally in this respect. Her magics are what bring down the main villain of season 4, Adam.

However eventually the magics consume her, she becomes reckless, arrogant, abuses her powers, and at one point even brainwashes her girlfriend, Tara (and attempts to do the same to Buffy.) Though she does try to control her addiction to magic, eventually after the death of Tara she goes insane and becomes Dark Willow, who nearly destroys the world!

Willow’s descent into Dark Willow, much like characters such as Angel and Blade’s attempts to control their thirst, is treated very much as a metaphor for drug and alcohol addiction, (with Willow even crashing a car she and Dawn are in whilst driving under the influence of Magic.)

Supernatural would go down a similar route with Sam in season 4. Sam much like Willow discovers that he has magical powers. Specifically the ability to draw Demons out of their host bodies and destroy them completely. At first Sam thinks he is doing great work with his new powers. Not only can he destroy the Demons, but he can save their hosts too.

Of course Dean thinks that Sam’s powers are evil, and even turns on him at one point. Things get worse however when it is discovered that Sam’s powers are fuelled by drinking the blood of people possessed by Demons.

Just like with Willow, Sam’s dependence on his powers, as well as the Demon blood that gives him them is treated as a metaphor for addiction to drugs.

These stories were among the interesting and nuanced in both series. They served as a more sympathetic metaphor for addiction, as we saw how two good people fell into such bad habits.

Indeed in both cases you can understand and even agree with them at first when they start using this dark power. Willow’s dark magics allow her to take on Glory, and play a key role in the hell Goddesses downfall, whilst Sam’s Demon powers allow him to remove the Demon without killing the humans they take over.

However as time goes on you can see how not only reckless they are, but how it begins to change who they are too, slowly but surely, and how ironically whilst their addiction only happened to make themselves seem stronger, its now brought them to their lowest point, with Willow sprawling on the floor begging Buffy not to leave her, and Sam being dependent on the blood of the monsters he used to fight or else he’ll go crazy.

Of course both stories were very controversial among fans, particularly fans of Willow and Sam who naturally hated seeing their favourite characters in such awful states, and doing such awful things, like Willow’s cruel taunting of Dawn, telling her everybody would be happier if she died, or Sam turning his back on his brother for a Demon!

But again personally I thought it was better to have two such normally reasonable and kind people be seduced by the dark forces, as it showed how strong they were, and again was a better metaphor for addiction, by showing how it can affect people who have everything to live for.

Its not just the stereotypical image of addicts being either criminals, or even just people who are depressed and drink and take drugs for distraction. You can get people who have the best quality of life, like Willow who has brilliant friends, a loving girlfriend, yet still ends up falling into this bad habit.

7/ Genre Savvy Hero

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Originator: Peter Vincent

Other Notable Examples: The Frog Brothers (The Lost Boys), Bruce Campbell (My Name is Bruce), Ghostfacers (Supernatural)

This character is someone who knows about Vampires, monsters and the supernatural from movies. He might be a huge geek, or he might be someone who stars in monster movies, but the point is he’ll have a more romantic idea of what its like being a Vampire killer before he actually encounters one.

He’ll be shit scared at first, but much like the everyman hero he will eventually become more heroic and brave, though never a conventional hero.

The movie that really brought this type of character into popular culture was Fright Night.

Released in 1985, Fright Night revolved around a young fan of horror movies, Charlie Brewster discovering that he lives next door to a Vampire named Jerry Daindridge. Charlie is forced to go to his favourite horror actor, Peter Vincent for help. Peter Vincent was named after and based on Peter Cushing, with Vincent much like Cushing being known for playing Vampire killers

At first Vincent is portrayed is terrified, but as time goes on he rises to the challenge and helps Charlie save his girlfriend Amy from Jerry.

Fright Night though only released as a B-movie proved to be very successful and influential on the genre. It was the first of its kind really, to poke fun at the genre in an affectionate way, yet also be a good Vampire movie in its own right.

The fact that its characters were either fans or had starred in Vampire movies meant that they could recognise a lot of the cliches and staples of Vampire movies when they were encountering them themselves.

Among the other examples of these types of characters in Vampire and supernatural films and television series include the Frog Brothers in The Lost Boys and The Ghost Faces in Supernatural.

The Frog Brothers, much like Charlie Brewster are big fans of horror movies, though unlike Charlie they tended to fancy themselves as big macho Vampire killers, but of course they get a rather nasty surprise when they meet a real Vampire and much like Peter Vincent, even when they kill a Vampire its a clumsy, awkward fight where they constantly panic.

The Ghost Facers meanwhile tend to take after the Frog Twins more in that they are wannabe monster hunters who’ve seen Peter Cushing and Buffy kill monsters on tv and think it looks easy. Though even when they do encounter monsters it doesn’t burst their bubble and they even attempt to make a tv show out of their battles against the supernatural which goes about as well as their attempts to be big sexy monster hunters.

Finally Bruce Campbell’s ficitonalized version of himself in My Name is Bruce is essentially a more sleazy version of Peter Vincent. Like the real Bruce Campbell, he is known for playing monster hunters and is asked to fight a real monster by one of his fans. Like Peter he chickens out at first before stepping up and doing the right thing.

This type of character would prove popular enough to appear in stories beyond the Vampire and even horror genres.

Galaxy Quest for instance, though not a Vampire movie follows the Fright Night template bit for bit.

Both Fright Night and Galaxy Quest revolve around actors who are known for playing monster hunters/heroes, who are down on their luck (and are parodies of real life genre icons, William Shatner and Peter Cushing.) Both are asked by their fans to help fight a real life example of the type of monsters/villain they always beat on tv. Both at first think their fans are just having a joke, and when they discover the truth they both want to run away, before finally facing their fear and becoming the hero their fans always thought they were.

These characters are popular, as for those who like the genres they are parodying, then they can be as effective heroes as any other for serious stories, yet to people who don’t like the genres they are parodying then they can be quite enjoyable send ups of all the cliches and staples of the genre.

8/ Vampire Detective

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Originator: Hannibal King

Other Examples Angel: (Buffy and Angel) Nic Knight (Forever Knight)

The Detective genre has been merged with the Vampire genre more frequently and more successfully than any other.

The Detective genre and Vampire genres tend to take place in similar, gloomy, gothic surroundings. Little dark alleyways, seedy little bars, corrupt, crime laden underbelly’s of big city’s where someone can go missing and no one will even notice are the perfect environments for down on their luck detectives and Vampires.

The first ever Vampire Detective was Hannibal King, a recurring character in Marvel Comics series Tomb of Dracula. Hannibal had been turned by Deacon Frost, the same Vampire that killed Blade’s mother. Unlike all other Vampires he resisted the urge to feed on humans, and still continued to function as a detective tracking down both regular and paranormal criminals.

King eventually came into conflict with Blade who mistook him for a common Vampire at first. Blade eventually saw that King was different and together they would form a paranormal agency, the Nightstalkers who faced Dracula, Frost, and various other supernatural threats.

Hannibal King would go on to influence Angel, when the latter gained his own series and became a Vampire detective. Angel and Gunn’s relationship was somewhat similar to Hannibal King and Blade’s.

In both cases you have a character (Gunn, Blade) who live on the streets, hunt Vampires and who despise them fanatically because a family member was killed by Vampires (in both cases it was a young female relative who later became a Vampire and who they then had to kill.) This character then meets a goodguy detective Vampire who is a more reserved, quiet, contemplative character (Angel, King) and at first they try to kill them, and refuse to believe that a Vampire could be a good person, before eventually coming to see that King and Angel are different, after which both Blade and Gunn become part of a paranormal detective agency with Angel and King.

Another example of a Vampire Detective was the Canadian series Forever Knight. Here the Vampire in question, Nick Knight much like the later Angel, is on a quest for redemption after having spent hundreds of years killing people.

Forever Knight was somewhat different however in that he did not face other Vampires or supernatural creatures that often like Hannibal King or Angel. His series was often actually a straight detective series, though much like Angel there were often flashbacks to his mysterious past.

Other examples of Vampire Detective stories include the short lived American fantasy series Moonlight, another Canadian series named Blood Ties, and finally Nightwalker: The Midnight Detective, a Japanese series that revolves around a private detective who is secretly a Vampire named Shido and who by night fights Demons and other monsters including the Nightbreeds.

The Vampire Detective is an effective trope, but it can end up getting a bit more repetitive than some of the other examples on this page, as it is obviously tied to a specific genre.

9/ The Romantic, Conflicted Vampire

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Originator: Carmilla Karnstein

Other Examples Angel (Buffy), Spike (Buffy), Lestat (The Vampire Chronicles), Dracula’s Daughter (Dracula’s Daughter), John Mitchell (Being Human), Salvatore Brothers (The Vampire Diaries),  Gary Oldman’s Dracula, (Dracula 1992), Frank Langella’s Dracula (Dracula 1979), Edward Cullen (Twilight)

Now obviously there can be overlap between this good guy Vampire and other characters like the Vampire Detective and superhero Vampire character.

Still I feel that this character is their own trope that doesn’t always have to be associated with the other two types of heroic Vampires.

This Vampire character can be either male or female just as often, unlike other characters who tend to largely be one gender.

This character will be a centuries old Vampire who in the past may have been one of the most evil. However they will renounce their evil ways when they meet someone they fall in love with who is good.

Unlike Blade who wants to control his thirst for human blood because its the right thing to do, this character is motivated solely by being in love which in some ways can make them seem more unsympathetic, yet in an odd way more human and relatable.

As a result of this, this character isn’t a Vampire hunter per se. They might be, but most of the time this Vampire just wants to try and live as normal a life as they can. Compare Mitchell from Being Human to Blade for instance. Yes Mitchell occasionally helps people and takes on Vampire kings like Herrick, but he’s not out every night actively hunting Vampires like Angel or Blade. Same applies to Carmilla, Lestat, and the Salvatore brothers.

These characters are more likely to be involved in a love triangle than in fighting monsters and they all tend to be quiet, mopey and brooding characters.

Finally this character may also be LGBT too. Carmilla, Dracula’s Daughter, and Lestat are all bisexuals.

In fact Dracula’s Daughter was even advertised as giving female viewers “a weird feeling”.

Image result for dracula's daughter she gives you that weird feeling

Of course some have naturally interpreted the association of Vampirism with homosexuality to be homophobic. It doesn’t help that they refer to women being attracted to women as “that weird feeling” in the poster for Dracula’s Daughter.

Still I think that most of the time, certainly in stories like The Vampire Chronicles and even in the older works, like Carmilla and Dracula’s Daughter, the good guy Vampire was used as a sympathetic metaphor for LGBT people. Much like LGBT people would have been at the time films like Dracula’s Daughter and stories like Carmilla were made, then the reformed, romantic Vampire is a character that is rejected by everyone simply because of who they are.

Humans obviously view them as freaks, but so will regular Vampires. Their love is also be seen as forbidden by all around them too.

Obviously its not a perfect metaphor, as in all fairness its understandable that humans might reject a Vampire, since they are monsters that kill people! Still no metaphor is perfect. The mutants in the X-Men are used as a metaphor for LGBT people (and other persecuted minorities.) However much like with Vampires, and unlike with LGBT people, you can kind of understand why some people might be a bit scared of mutants considering they can (and frequently do) shit like this.

Similarly the Daleks are good metaphors for racial hatred and the Nazis, but again they are obviously far more cartoonish, over the top and evil than even the most twisted and bigoted humans throughout history.

So no metaphor is completely perfect, but still at their core this type of Vampire character would have undoubtedly captured the feelings of loneliness and having to hide the knowledge of who you love, and ultimately just who you are that many LGBT people would have sadly been forced to live with.

This type of Vampire lead is the most popular among mainstream audiences. Most people like a good love story, and these characters are also often played by conventional attractive leads too.

Among hard core genre fans these characters tend to be a bit more polarising however. Obviously some examples such as Angel and Spike are very popular, but others tend to be viewed as more sappy, weak characters. I think a lot of genre fans also prefer Vampires to be evil monsters, so again something like True Blood which turns Vampires into sexy, misunderstood, tormented anti heroes, is obviously not going to be that popular among the Buffy, Peter Cushing crowd.

10/ Agent of Anti Paranormal Organisation

Originator: Hellboy

Other Notable Examples: Gabriel Van Helsing (Van Helsing), Riley Finn (Buffy)

This type of hero isn’t that popular. Hellboy is practically the only major iconic example. The 2004 Van Helsing though having developed a cult following, was largely a flop, whilst Riley is similarly one of (if not the) most disliked character in Buffy.

I think the reason as to why this character is less popular is perhaps because they are less vulnerable than other Vampire hunter characters.

The likes of Sam, Dean, Peter Cushing, even Buffy and Angel, all kind of had to do it themselves in terms of finding things out about monsters, getting weapons to fight them, and even just convince the authorities that they weren’t serial killers!

With this character however they have the backing of an entire organisation behind them, so they have access to an endless supply of weaponry, knowledge on Vampires and even cover ups for the police. There’s very little that can actually threaten them.

Still that’s not to say you can’t ever make these characters work as we have seen with Hellboy, but I think its more of a challenge than with other more famous Vampire hunter characters.

The Darkhorse character Hellboy who worked for the organisation called the B P R D really laid down the tropes that later versions of this type of character would follow.

There are many similarities between Hellboy and the Hugh Jackman version of Van Helsing for instance. Both are supernatural beings (a Demon and an Angel respectively) who arrived on earth under mysterious circumstances. Neither knows why they were sent to earth, and both were found by an organisation that hunts the paranormal, who took them in, and trained them to be warriors for their cause, whilst helping them try to understand their past.

Both also have a connection to their archenemy too, Rasputin and Dracula, though we don’t find out much about either’s mysterious link to the head Demon, or Vampire.

I think the fact that Jackman version of Van Helsing followed this template was why it didn’t really work. Its an enjoyable monster mash, and Hugh Jackman as always is great in the role.

However he isn’t really Van Helsing. Obviously I don’t expect Van Helsing to always be the same in every adaptation. The Cushing Van Helsing was younger and more dashing than the one from the novel.

However the two defining traits of Van Helsing’s character are that he is the greatest expert on Vampires, and that unlike Buffy and Blade, he is just an ordinary man who hunts Vampires. He followed in a long line of scholarly, gentlemanly heroes like Sherlock Holmes, and he was created to be Mr exposition and a way for Stoker to develop his supernatural world and creatures.

The Jackman version of Van Helsing doesn’t know anything about Vampires, Demons or monsters. In fact he has his own standard Cushing/Van Helsing who tells him about Vampires, called Carl.

He also is not just an ordinary man, being a former Angel, who becomes a Werewolf and kills Vampires using his superpowers.

Whilst the Cushing Van Helsing did do something new with the character, it still stuck to the core principles of his Stokers version, but when you look at Jackman’s version you can never imagine him as Van Helsing.

If the Jackman Van Helsing had been a totally original character then I think he would have been better thought of. Its kind of like the 98 version of Godzilla for instance who similarly did not resemble the character he was supposed to be.

The Bad Guys

1/ Vampire Supremacist

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Originator: Bram Stokers Dracula

Other Notable Examples: The Master (Buffy), Herrick (Being Human), Deacon Frost (Blade), Alpha Vampire (Supernatural), Mr Snow (Being Human), Valek (Vampires), Azazel (Supernatural) Muriel (Hansel and Gretel: Witch Hunters)

My favourite type of Vampire villain. This guy is the antithesis to the romantic, conflicted Vampire who just wants to be human.

This Vampire will LOVE being a Vampire. He will regard his species as the ultimate race, obviously far above humans, but also above other supernatural creatures too. (If there are Werewolves around he will usually hold them in a special kind of contempt.)

He will want to create a world where humans are rounded up into cages like animals, bled slowly, and tortured for the Vampires amusement. (Again other supernatural creatures may get a similar treatment too.)

There will often be an alternate what if scenario where we see the Vampire Supremacist has succeeded and created this “perfect world”. All of the main heroes, (except for one who is able to turn things back) will either have been killed in the most horrific ways, or worse become the Vampire Supremacists most vicious minions, such as in the Buffy episode The Wish or Being Human’s 4th season.

This Vampire will be fond of going into big grandiose speeches about the superiority of Vampires and why they should rule the world such as the following.

Buffy: The Wish

The Master: Behold the technical wonder that is about to alter the very fabric of our society. Some would say such an advancement goes against our nature. I say to them. Well I don’t say anything to them because I kill them. Vampires! Undeniably we are the worlds superior race. Yet we have always been to parochial. Too bound to the mindless routine of the predator. Hunt and kill, hunt and kill, titilating? Yes. Practical? Hardly. Meanwhile the humans with their truly plebian minds have brought us a truly Demonic concept. Mass production!

Blade

Frost: Let me tell you what we are. We’re the top of the fucking food chain. Tonight the blood gods coming and everyone in his path will be turned. How are going to cure the whole fucking world.

He will also get angry when his human enemies think they can threaten him. He won’t just look down on humans, he will literally regard them as filth, and may even live under ground because he can’t stand being among them. He will absolutely despise any display of “humanity” he sees among his Vampire minions too.

Supernatural

Alpha Vampire: When your kind first huddled round the fire, I was the thing in the dark, and you think you can harm me! 

Of course he will be a complete hypocrite too in many of his beliefs. He will regularly murder his Vampiric minions in the most horrific ways for trivial failures, in spite of all of his brotherhood of Vampires shit, and will generally show no regard for them whatsoever.

The reason for this is because his belief in Vampiric superiority stems simply from the fact that he is one. If he were a human then he would be the most fanatical Vampire hunter. In some ways this kind of character reminds me of Eric Cartman in the classic South Park episode Ginger Kids.

In this episode Cartman goes on about how much he hates red haired people (he even compares them to Vampires), until Kyle sticks a red wig on him in the middle of the night. Believing he has suddenly become a ginger, Cartman leads a “red power” movement to conquer and exterminate all non red heads. He even says “I will not be part of a god damned minority!”

That is pretty much what the Vampire Supremacist character is. He’s not going to be part of a race that skulks in the shadows, lives in fear of their existence being found out by humanity. He’s going to make sure that his people are the master race for himself.

Yet another example of this characters hypocrisy is the fact that whilst he will often rant about hating human emotions and weaknesses etc. He will still have a favourite lackey that he will love like a child, and whose death may even break him.

Physically this Vampire also may look more monstrous (The Master, Mr Snow) again to highlight how little humanity he has and how much older he is.

This guy will also be far more powerful than any other Vampire. In fact he will probably be immune to most of their weaknesses and whenever our hero tries to take him on in a straight fight it will end in a curb stomp in his favour unquestionably. He will also kill various other Vampire hunters to show how badass he is. The hero will have to use some kind of trick, or dirty tactic to finally take him out.

He will also be very fond of badass boasts too like commenting on all the Vampire hunters he’s killed. He might even boast about having killed a famous figure in history. His age will never be revealed, but he will casually mention having been at an event which establishes him as truly ancient, like the fall of Rome, or he might even mention having met cavemen!

This character to me is the best type of Vampire villain for many reasons. To start with he can give us a Vampire villain that is evil, yet we can kind of understand in a way.

In many ways we don’t really have the moral high ground against Vampires. At the end of the day Vampires kill what they regard as lesser creatures to survive, just like we do. Indeed considering human beings don’t actually have to feed on animal flesh, where as Vampires in many pieces of Vampire fiction DO have to survive on human blood, humans actually could be considered worse.

Of course you might argue that Vampires treat their human victims worse than we do our animals, but really that argument doesn’t hold much water when you consider how poorly animals are treated.

So really in what way are Vampires worse than us? Obviously yes we are not going to root for Vampires, because we are their prey, but at the end of the day, we can’t really say that Vampires are worse than human beings. As Doctor Wu said in Jurassic World “monster is a relative term, to a canary a cat is a monster. We’re just used to being the cat.”

If Buffy, Peter Cushing and Dean Winchester go home and have a chicken leg, or a lamb chop or a cheese burger or a few strips of bacon for tea, well then they are complete hypocrites. This Vampire character will be aware of that, which can lead to a very interesting confrontation that does genuinely make the viewer question the heroes righteousness, even though they are up against a monster that is genuinely evil.

Added to that this Vampire also being so powerful, can help Vampires to regain some of their menace too in things like Buffy and Blade, where we see regular Vamps get overpowered and killed easily all the time. This guy will show you that a Vampire, provided its able to live long enough, can still be a truly unstoppable foe, even against the ultimate Vampire killers.

The great irony is that it was Bram Stokers version of Dracula that created this type of character, yet almost all versions of Dracula are not depicted this way.

Stokers Dracula is not a romantic character. He is an arrogant monster who has lived for hundreds of years, and he seeks to make Vampires the dominant race on the planet. This is why he travels to England as he hopes to use the British Empire to spread Vampirism like never before.

Like all of the usual Vampire Supremacists he has his favourite lackeys, but is willing to abandon them for his own safety. He also gets angry when people like Van Helsing think they can threaten him, famously  ranting “They would play their wits against mine. Me who commanded armies and nations before they were even born. Fools!

Sadly however for some reason this aspect usually gets left out of Dracula’s character whenever he is adapted, and many versions actually turn him into more of a low key villain, pursuing someone out of revenge, or because he is in love with them. It would be nice to see someone actually portray the original Vampire king properly on the big screen after all this time.

This character doesn’t always have to be a Vampire. You can have a Demon Supremacist who fulfils all of the same tropes too.

Azazel the Yellow Eyed Demon from Supernatural is a Demon version of this type of character, beat for beat.

Azazel believes that his kind, Demons should rule the earth, and regards humans as little more than filth. He spends years trying to bring this plan about by freeing his father, Lucifer himself.

Azazel also looks unique (with his yellow eyes) and is immune to many standard Demon weaknesses too. He is a sadistic monster who enjoys killing women in the most horrific ways, yet much like the Master with Darla, he does genuinely love his Demonic children, Meg and Tom.

Azazel: (To Dean) As far as I’m concerned this is justice. You know that little exorcism of yours? That was my daughter. That one in the alley? That was my boy. You understand.

Dean: You’ve got to be kidding me.

Azazel: What? You’re the only one who can have a family? You destroyed my children. How would you feel if I killed your family? (Smiles at Dean.) Oh that’s right I forgot, I did. Still two wrongs don’t make a right.

Dean: You son of a bitch.

Azazel: You know, you fight, and you fight, and you fight for this family, but the truth is they don’t kneed you. Not like you need them. Sam? He’s clearly John’s favourite. Even when they fight that’s more concern than he’s ever shown you.

Dean: I bet you’re real proud of your kids too huh? Oh wait I forgot, I wasted em.

Azazel really walked into that one!

Another non Vampire and non Demon example is Muriel, the Grand High Witch and main antagonist from the movie Hansel and Gretel: Witch Hunters.

Muriel wishes to allow her kind to rule the earth, and she is obviously far stronger than your average Witch. Also whilst preaching about how her kind should come together to rule the world, she memorably sends her minions through the booby trapped woods to see if its safe!

Generally speaking however this character is usually a Vampire, though much like with other stock Vampire characters, a Demon is most commonly used in place of a Vampire as seen with Azazel.

2/ The Just Want To Watch The World Burn Vampire

Originator: Christopher Lee’s Version of Dracula

Other Examples: Angelus (Buffy and Angel), Evil Hal (Being Human), Frost (Blade), Count Karnstein (Twins of Evil)

The most frightening and vicious Vampire villain of them all. This Vampire is a monster right through to his core. He will have no redeeming features, and no plans or ambitions except to torture and kill people.

These monsters will be dangerous to everyone and everything around them, even other Vampires and their most loyal servants. Most of the time he will kill someone not for food, but for his own amusement. He will also prolong his victims torture for as long as he possibly can.

When these Vampires plan something big, then it will be the destruction of the entire world. We’re not just talking about the end of human society like a Vampire Supremacist. His plan will literally kill everything on the planet, including all other Vampires too, and even himself, but he won’t care. For him it will be the ultimate act of horror and the perfect way to go out.

Finally this Vampire will also get the most horrific death. A simple stake is too good for him. In order to really make the audience happy after building him up to be the most evil monster this Vampire will need to really get his just deserts.

Christopher Lee’s Dracula was the one who established this type of Vampire in popular culture. Lee’s Dracula was a bloodthirsty monster who in contrast to later versions of the Vampire count, had no love or affection for the women he went after.

Indeed Lee’s Dracula was probably the least romantic version of the Vampire there has ever been. He didn’t always kill his victims just to feed. In many movies such as Dracula Has Risen From The Grave, Taste The Blood of Dracula and Dracula AD 1972, Dracula attempts to turn his female victims into Vampires just to torture their father, fiance or relative who had wronged him in some way.

Lee’s Dracula would also rape his female victims too, as he would force them to sleep with him using mind control. Furthermore after making them into Vampires he would always discard, beat, or even kill his brides because he didn’t want to have to share his kills with them.

In Scars of Dracula, Lee stabs his Vampire bride Tanya to death with a silver blade, and has her body burned in acid, whilst in Dracula Has Risen From the Grave, he regularly beats Zena, his human bride and demeans her. Later when she fails to bring him another woman he plans to make into a Vampire, he tortures her and makes her into a Vampire, before ordering his servant to burn her to death!

In Taste the Blood of Dracula meanwhile he brutally murders one of his Vampire brides when she attempts to get close to him, and dumps her body in the canal for her brother to find. Finally in Satanic Rites of Dracula he is shown to keep his Vampire brides chained up in a cellar, with all of them having been reduced to the level of animals.

Lee’s Dracula also didn’t always kill his victims to feed on them. He often killed for his own amusement, and he often killed his victims in the most horrific ways.

In Scars of Dracula, Lee’s version of the Vampire dispatches a horde of bats to devour all of the women and children in the town. Its one of the most disturbing moments in any Vampire film, as the men of the village, having believed they have finally rid themselves of Dracula after burning down his castle, arrive back at the church where they believe their wives and children were safe, only to find their mangled remains scattered all over the former house of god. Even the local priest himself declares the church to now be a place of evil!

Dracula’s treatment of Klove, his most loyal servant is no better meanwhile. Whenever Klove steps out of line, Dracula beats him with a whip, and then sticks a burning hot sword into his whip wounds! In Dracula Has Risen From The Grave, another example of his horrific treatment of his servants can be found in the way he forces a priest to do his bidding through mind control.

The weak willed Priest is forced to carry out such horrors on Dracula’s command as burning young women alive, bludgeoning other priests to death, and kidnapping young women for Dracula to rape, kill and make into blood drinking monsters! The priest is awake throughout all of it, yet can’t resist the Vampires sadistic commands.

In Satanic Rites of Dracula, the Vampire finally decides to end the world. Having grown bored of his immortal existence, Lee’s Dracula desires to rest forever, but naturally wants to not only go out in a blaze of horror, but take down the entire world with him.

So he creates a plague that is spread by touch, and kills its victims in the most horrific way possible. It literally eats the flesh from the bones, and it stimulates the pain receptors of its victims to the absolute maximum they can be stimulated. It also kills its victims over the course of several days, and can infect and destroy any animal on the planet, not just humans.

Dracula intends to exterminate every single life form on earth with the plague, using his four carriers, (one of which he intends to be his archenemy Van Helsing, with Jessica Van Helsing meanwhile being turned into a Vampire, so that she will be immune to the plague, and be forced to watch as everyone and everything she knows and loves is destroyed!)

Dracula’s servants believed that he was only going to use the plague as a deterrent to force the world powers to obey their commands, and when one of them protests, Dracula actually forces him to infect himself using his mind control. Its one of the most gruesome scenes in the entire Hammer Dracula catalogue as we see the virus slowly eat away his flesh.

Finally Lee’s Dracula would also always suffer an extremely painful and humiliating death too. He was burned in the sun, drowned, impaled on a cross and melted into a puddle of blood, struck by lightening and set on fire, and trapped in a hawthorn bush and shredded.

Lee’s Dracula was the ultimate horror movie monster. A totally evil creature that was devoid of any conscience, who was as cruel to his servants and brides as he was to his enemies and victims, and killed people in the most horrific and painful ways, whilst also dying in the most spectacular and over the top ways too.

He made a huge impact on the horror genre, and naturally we started to see other Vampire villains created in a similar mould, including Count Karnstein from the Hammer movie, Twins of Evil.

Karnstein is shown to be a sadistic, bloodthirsty maniac even before he becomes a Vampire. He kills not just to survive, but for fun and has no regard for his Vampire brides who he regularly beats and sacrifices for his own survival.

There were also elements of this in Frost’s character from Blade. Whilst he wanted to take over for the good of his people, Frost was still an unrelenting sadist who didn’t always kill just to feed as seen here.

Frost also just like Lee’s Dracula suffers a truly heinous death (its definitely the most horrific out of the three main Vampire villains in the series.)

Vampires in general following Lee’s Dracula were made to be more sadistic monsters. For instance in Buffy all Vampires are shown to enjoy torturing their victims. To be fair though this was as a result of the rise of the Vampire hunter as a major character. If we are going to root for the person who kills Vampires, then the Vampire itself has to be a monster that we don’t mind be killed in the most horrible ways regularly.

Still Lee’s Dracula was really the first such example and in many ways the template for those who came after.

Definitely the most successful and iconic example of this type of Vampire after Lee’s Dracula was Angelus, Angel’s evil counterpart from the Buffy/Angel franchise.

Angelus is every bit as evil and twisted as Christopher Lee’s Dracula. He enjoys torturing his victims in the most brutal ways for hours, possibly days on end. He also enjoys breaking his victims psychologically as seen with the likes of Drusilla and Holtz whose loved ones he kills, and who he both drives insane. Angelus is also shown to take a particular delight in torturing and raping his female victims too such as Holtz’ wife or the gypsy girl he spent an hour torturing and raping to death.

Angelus: Chicks just love a good accent. Makes em all buttery in the nether regions. Isn’t that right Fred? You know I had a bit of an Irish brogue back in the day. If you like I can use it on you when I rape you to death!

Angelus also is shown to kill people more often for his own amusement than to feed. Arguably the most infamous example of this can be seen when he murders Jenny Calendar, Giles’ girlfriend and later places her corpse in Giles bed, setting things up to look as though she is waiting for him up stairs.

We later find out he has done this to his other victims too, including one instance where he snapped the necks of several infants and laid them in their crib for their father to find. It was only when the father leaned in to kiss them goodnight and felt how cold they were that he found out the truth.

Finally Angelus is such a bastard that even other Vampires hate him because he is just as cruel to them too. When Spike is in a wheelchair, Angelus sleeps with his girlfriend Drusilla, and taunts Spike about it for months on end until Spike eventually turns against him, allies with Buffy and beats Angelus with a crowbar.

Spike: Have you forgotten that you’re a bloody guest in my bloody home.

Angelus: And as a guest if there is anything I can do for you, any responsibility I can assume while you’re spinning your wheels… (looks over at Drusilla) Anything I’m not already doing that is.

Spike: NOW THAT’S ENOUGH (leans out of his chair to punch him, Angelus laughs.)

Similarly when he first meets the Master he insults the elder Vampire to the point where he beats him to a bloody pulp. I love the way Angelus as you can see here literally can’t stop being an asshole no matter what. Even when he is in the presence of someone like the Master who could kill him in like three seconds flat, he still insults him because he doesn’t know how to not be an asshole.

One thing the Master, Giles, Spike and Buffy all have in common is wanting to smash this bastards face in. 

Finally Hal’s evil persona in Being Human is similar in that much like Angelus he enjoys killing for fun. We can see this when he calmly chokes the Werewolf Larry to death, taunting him before hand, and calmly telling Larry “this is the real me!

The just want to watch the world burn Vampire is obviously not the most complex Vampire villain, but he is still nevertheless by far and away the most terrifying.

He really takes advantage of what it is that makes Vampires such effective monsters. Monsters like Zombies and Werewolves are not really evil. They are just animals who kill for food.

A Vampire however is a thinking creature that is aware that it has to kill other sentient creatures to survive. There are obviously many avenues you can go down as a result of this that you can’t with something like a Zombie, or even other thinking monsters like Demons and Witches who don’t have to kill to survive like a Vampire.

You can obviously have a Vampire try and find another way to survive, or you can have it look at it from a practical way of what its doing is no worse than what humans do to animals, or you can have it actually enjoy having the power to take people’s lives like Angelus and the Lee Dracula, which is all the more terrifying.

This character can obviously only be featured in the darkest type of Vampire story.

3/ The Broken, Vengeful, Twisted Vampire Killer

Originator: Daniel Holtz (Angel)

Other Notable Examples: Gordon Walker (Supernatural), Kemp (Being Human)

The dark counterpart to the vengeful crusader. This character is also quite a nice counterpart to the Vampire Supremacist as he is essentially the same character, just on the other side.

This character will hate Vampires because his loved ones were killed by them. There’s a good chance that he will have had to kill his loved one who was turned into a Vampire too. He will often carry something around that reminds him of his deceased loved one.

This character will seem like a hero at first, as ultimately he just wants to rid the world of Vampires like Buffy, Blade or Van Helsing. However as time goes on we will see that he is far more unstable and fanatical. He will want to kill any Vampire, or Demon regardless of its alignment, and he will also be willing to murder innocent people too. This character will also often suffer an ironic fate, maybe being turned into the very monster he hated, or being punished in the same way as he did others.

Daniel Holtz from Angel was really the first example of this type of character. Holtz was inspired by Xena’s archenemy Callisto. Callisto was a warrior who had been driven insane when Xena burned her village to the ground and killed her family. Callisto is even more embittered when Xena reforms and becomes celebrated as a hero, and tries to make Xena pay through any means necessary.

Holtz was a Vampire hunter whose family were murdered by Angelus. Much like Callisto, Holtz is even more embittered when the murderer of his family reforms and becomes a hero, and still tries to ruin his life any way he can. (Both Holtz and Callisto target the children of Angel and Xena, and ironically are only able to thanks to the misguided, but ultimately treacherous actions of the heroes best friend, Wesley and Gabrielle, both of whom the hero tries to kill afterwards.)

Holtz was a truly fantastic villain who was played superbly by Keith Szarabajka. Holtz would lay down almost all of the tropes that this type of character was to follow.

At first he seemed like he was a genuine hero, as he hunted Vampires to protect the innocent, and even in his feud with Angel he at first wanted to slay the Vampire to actually free his human soul from the torment he was in.

However as time goes on it becomes obvious that all he actually cares about is revenge, and worse he is willing to take away an innocent child’s life and turn him against his father, as well as manipulate other, broken and damaged people for his own ends, and even kill innocent people like Wesley.

Holtz is aware of how twisted he has become, even saying to his right hand woman Justine that he knows he is going to hell before he makes her kill him.

It was a great twist to have what would normally have been the main hero in any other Vampire story become the villain. Holtz is the same as Captain Kronos, Jack Crow, even Blade. All 4’s loved ones were killed by and turned into Vampires and all 4 have as a result devoted themselves to destroying them. With Holtz however unlike those characters he not only comes across a Vampire that isn’t evil, which throws the righteousness of his crusade into question, but its actually the same Vampire that killed his loved ones and so sadly he ends up becoming seen as a villain by the audience.

Another character that would follow a similar template was Gordon Walker from Supernatural. Walker much like Holtz lost a loved one to Vampires, his sister, who was also turned and who he later killed.

Walker at first seems like just another hunter, and he and Dean Winchester even bond. However it soon becomes apparent that much like Holtz he is a fanatic who views all supernatural creatures as being the same.

We see this when he captures and brutally tortures a reformed Vampire named Lenore (played by Amber Benson, best known as Tara on Buffy.)

Later Gordon tries to kill Sam Winchester when he finds out that he has Demon blood, though in the process he ends up getting a wonderfully ironic death when he is turned into a Vampire as punishment for the Vampires he has killed in the past.

Gordon is condemned to an eternity as the thing he hates. In Supernatural, the souls of monsters such as Vampires, Werewolves, Ghouls, Shapeshifters, and Djinns go to Purgatory when they die instead of heaven or hell.

Purgatory essentially resembles a giant never ending forest and the monsters hunt each other there for all eternity. Whenever they die in Purgatory, they will come back to life again and thus are doomed to die over and over again forever.

To me this was the greatest piece of lore from Supernatural, as it made the Vampires and Werewolves far more terrifying than ever before. In other pieces of Vampire fiction when someone becomes a Vampire its tragic, but at least they are freed when they are slain. Here however when you die you are still a Vampire, and worse, you are sent somewhere where you will never see your loved ones ever again, and be forced to fight and kill other monsters.

It doesn’t matter if you were a good person as a human before you became a Vampire, and it doesn’t even matter if you are a heroic Vampire who uses his powers to fight other members of your kind like Blade. Similarly you can be a Werewolf who does his best to make sure that you never escape on the night of the full moon and live a perfectly otherwise normal life, like George Tully from Being Human or Oz from Buffy.

When you die you are still going to Purgatory, away from your human loved ones who go to Heaven, where you will be stuck in your wolf or monster form, having to fight other monsters for all eternity.

With this in mind it truly is the perfect fate for Gordon a man who spent his entire life hunting Vampires, to spend eternity in the forests of Purgatory as a Vampire, hunting them and all of the other monsters.

On the one hand its his worst nightmare being the thing he hates, yet on the other, killing Vampires is what his idea of heaven would look like anyway. One can only imagine he will be chasing the Vampire who turned him forever, though at the same time he will be chased by many of the Vampires who he killed, including his own sister! That will be an awkward family reunion to say the least.

Finally another example of this type of character is Kemp from Being Human. Kemp much like Holtz saw his wife and children killed by Vampires and devoted the rest of his life to destroying them. Though he views Vampires as the most abhorrent supernatural creatures, he is still shown to want to wipe out Werewolves and Ghosts too, regardless of their moral alignment.

Kemp is also shown to be willing to murder innocent people in his quest, including his own assistant who he brutally stabs to death in order to exorcise Annie, and later Jaggat who he kills simply for associating with a Vampire, a Ghost and a Werewolf.

Much like Holtz, Kemp keeps a reminder of his wife and children’s death. Holtz would often sing the lullaby he used to sing to his daughter (and that he sang to her the final time he held her in her arms, after she had become a Vampire, just before he threw her into the sun.)

Kemp meanwhile carries the blood soaked bible he used to ward off the Vampires that killed his family.

Finally Kemp like Gordon Walker also meets a fitting end when Annie, a ghost he exorcised against her will, brings him into her dimension.

This character is obviously always paired against a more heroic Vampire or supernatural creature to show what a fanatic they are, but I think it would be interesting to see this type of character go up against the Vampire Supremacist too.

Obviously you’d still always need a good guy Vampire there, or else this character would just end up being the hero.

Still I’d love to see a Kemp/Holtz/Gordon Walker go up against a Master/Frost/Herrick/Dracula type of character. There’d be room for some brilliant conflict between these two fanatics, who in many ways are just the same, but on different sides.

4/ The Romantic, Conflicted Vampire

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Originator: Dracula’s Daughter

Other Notable Examples: Jerry Daindridge (Fright Night), Count Dracula (Gary Oldman Version)

This Vampire is obviously similar to the good guy, conflicted romantic Vampire character like Lestat, with the key difference being that he just simply isn’t strong enough to give up feeding on humans.

He hates being a Vampire, will actually feel guilt over his actions, and will even fall in love, but ultimately he or she just won’t be strong enough to overcome being a monster. When they die they will often have a look of peace on their face, and may even thank the person who killed them.

Of course this character will still ultimately be a villain, and will still do absolutely horrific things. The fact that they will also often be a love rival for the main hero may also cause them to behave in a more deplorable way than other Vampire villains, as after all love makes us do crazy things.

This Vampire tends to be a polarising villain among fans of the genre. Obviously in some ways he can be a more complex type of villain than say the want to watch the world burn Vampire, but at the same time he can also be a bit more mopey, and is extremely limited compared to other Vampire villains as all he can really be in are love triangle stories.

5/ The Young Upstart Vampire

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Originator: David From The Lost Boys

Other Notable Examples: Spike (Buffy and Angel), Frost (Blade film series only)

This type of Vampire much like the Vampire Supremacist LOVES being a Vampire, but its in a different kind of way.

Where as the Vampire Supremacist will develop an ideology about why his people are the rightful rulers of the earth, this guy will love being a Vampire in a more shallow way. He will love having super strength, being young and sexy forever, being able to fly, being able to drink loads, and smoke and not have to worry about his health etc.

He will be an adrenaline junkie, and have a real love for aspects of modern popular culture, like television series, music, and will often dress in modern clothing too (as opposed to other Vampires who tend to dress in more extravagant, old fashioned clothes.)

Finally this Vampire will be in some kind of conflict with the more old fashioned type of Vampire. Perhaps it will be because he is drawing too much attention to them with his antics, but whatever the case he will not behave in a way Vampires are supposed to, much to the annoyance of his fellow Vampires, and Vampire hunters alike.

David from the Lost Boys who was played by Kiefer Sutherland really pioneered this type of character. Though he wasn’t technically the main villain of the film, he was still nevertheless its most popular character and he would along with Johnny Rotten and Sid Vicious be one of the three main inspirations on Spike from Buffy the Vampire Slayer.  (Spike’s relationship with Drusilla was inspired by Sid and Nancy, but James Marsters said he based his swagger, and cocky attitude on Johnny Rotten, even telling Joss Whedon “I’m going to give you Johnny”)

One of the main influences for Spike.

Still despite the influence of the Sex Pistols two front men, there is a lot of David in Spike. Even just physically the two are very similar, with their platinum blonde hair and dark leather coats.

Spike’s whole character is based on challenging what we think we know about Vampires.  He rejects the Master and the Order of Aulerius’ way of life from the start, even declaring “from now on there is going to be a lot less ritual and a little more fun around here”. He is also shown to embrace human culture, and have genuine romantic feelings for Drusilla. Later he is even shown to fall in love with a Slayer.

Spike went against what people believed Buffyverse Vampires could do, both in universe and in the real world, which is what made him both a popular and controversial character.

Finally another example of this type of character was Frost in the original Blade movie. As we have seen Frost embodied elements of other Vampire stock characters too, but there were definitely traces of this type of character in him too.

In the comics Frost was a much older, more mature character, and a Vampire supremacist, but for the 98 film he was a much younger, more modern, upstart who wanted to challenge the Vampire traditions of remaining hidden and blending into human society. Much like Spike did with the Anointed One, Frost kills the stuffy, more old fashioned Vampires and takes charge.

This type of Vampire villain though not as common as other types tends to still be very popular among fans and viewers. Not only is he often a lot younger, and more attractive than the stuffy old, often inhuman Vampire kings, but he is also a lot more fun too. He isn’t mopey, doesn’t spend all his time skulking in a crumbling old castle or a crypt. He actually does make it look like its cool being a Vampire. You get to play by nobody’s rules but your own, stay up all night, and kill anyone who pisses you off. What’s not to like?

The fact that he also doesn’t follow the usual Vampire traditions and expectations means that he is also obviously a much more unpredictable character than any other type of Vampire villain too.

6/ Hiding in Plain Sight Villain

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Originator: D.D. Denham (The Satanic Rites of Dracula)

Other Notable Examples: Grand High Witch (The Witches), Dick Roman (Supernatural), The Mayor (Buffy), Wolfram and Hart (Angel)

This monster will be a villain who not only has resources, but is a respected public figure. They will be a philanthropist, known to the public as a kind, generous person in their private life and be the last person anyone could suspect of any wrong doing. Of course behind closed doors they will be the worst, most deplorable monster.

D.D. Denham in the last (and in my opinion one of the greatest) Hammer Draculas really pioneered this type of character.

D.D. Denham was Dracula’s latest alias. To the public he was a powerful, eccentric, reclusive, but generous millionaire, but in secret he was not only capturing girls, torturing them and making them into Vampires, but he was also creating a plague to wipe out humanity!

In a way D.D Denham can be seen as an unintentional metaphor for men like Harvey Weinstein who abuse women and are able to use their connections and influence to not only get away with it, but actually be seen as respected and admired figures in most people’s eyes.

Lee’s Dracula was always portrayed as a sexual predator. He does rape his victims as well as kill them, and the fact that he can now get away with it in the modern world, (and even keep young women essentially as his sex slaves in the dungeon of his house.) Actually makes him more terrifying than ever before.

Like so many of the victims of scumbags like Weinstein, or the victims in grooming gangs in places like Rochdale, Denhams victims are completely ignored, with even Van Helsing not being aware for two years that Dracula is preying on these girls, who quickly go on the missing persons list and are then quietly forgotten about.

The Grand High Witch from Roald Dahl’s novel and the later film adaptation (where she was played by Anjelica Huston) may be an even more disturbing example meanwhile.

She was the head of the leading charity to help children in the United Kingdom. Furthermore all of the other board members of said charity were her minions. In Dahl’s story, Witches are Demons who hate children and use their magics to torture and kill them in horrific ways (like trapping Erica in the painting, or worst of all in the novel, turning children into hot dogs and feeding them to their parents whilst they are still conscious!)

There is a frightening moment in the book, when Luke is playing with his pets in a room the charity for children’s safety is about to take place in, and assumes that these people who love children, won’t mind a little boy playing with his pets whilst they set up their meeting.

He of course gets a rather nasty surprise when they take their faces off! (In the novel this essentially costs him his life, as unlike the happy ending of the film where he is turned back from being a mouse. In the book he remains a mouse at the end and is told that he will die in about 8 years, meaning he’ll only live to 16!)

Just as D. D. Denham was a perfect metaphor for sexual predators like Harvey Weinstein, then the Witches are a perfect metaphor for twisted individuals that target children such as Jimmy Savile who use their public status as a supposed “friend to all children” to both make themselves untouchable and gain access to victims.

Much like with D.D Denham and his victims who suffer in silence, what the Witches do to children as flamboyant as it may seem, has a certain real horror to it in scenes like this.

Here we have a boy attending a meeting that his parents think is made up of people who love children, but who actually want to do him harm, and who are relishing in the fact that he is alone in their company.

The Mayor in Buffy meanwhile is obviously similarly a metaphor for not only how politicians behind closed doors can have shadier personalities and motives, but also how they may even be in the pocket of a criminal underbelly who’ve helped them get to power (with Mayor Wilkins being a Demon worshipper who by paying tributes and making sacrifices to the monsters of Sunnydale has gained the influence and supernatural powers he has.)

Whilst the Mayor was a great villain of course, he was a slightly more humorous example of this type of character than the Grand High Witch and D.D. Denham. In one scene we see that he actually keeps human skulls and bones in his closet!

Joss Whedon played with this trope again in Angel of course with Wolfram and Hart, the Demonic law firm. Wolfram and Hart much like Mayor Wilkins could be used in a humorous way, with the joke obviously being Lawyers as Demons. Still there were obviously darker elements such as a senator who is served by Wolfram and Hart being willing to brainwash her rival into being a pedophile.

Being Human and Charmed also play with this trope too with Herrick, the Vampire king being the head of police, and Cole being both a Demon and a Lawyer too.

The Leviathans meanwhile in Supernatural were also corporate monsters, who played on conspiracy theories of those in the top trying to brainwash us by spiking our food and control how the masses think and act.

These villains bring monsters into our modern world like never before, and so naturally as the setting of Vampire and Demon stories has shifted to modern day, then these villains have become among the most common.

7/ Exotic, Otherworldly, Ghostly Vampire

Originator: Dracula (Bela Lugosi Version)

Other Notable Examples: Dracula’s Daughter, Dracula (Frank Langella Version), Dracula (Buffy Version)

This Vampire villain is almost like a Ghost. They will creep about in the shadows, live in old crumbling castles, and a greater emphasis will be placed on their hypnotic powers.

Unlike other Vampires who use their super strength and physical powers, these guys will instead place people under their thrall with just one glance.

There will always be a certain romantic aspect to these Vampires personalities. They may not be in love in with their victims, but they will at the very least not hate them. They will view turning someone into a Vampire as a positive thing as they are making them young and beautiful forever.

This Vampire will also often be somewhat more exotic looking and very beautiful physically, yet there will be a certain stiff, cold aspect to their mannerisms and appearance.

These were among the original movie Vampires and in some ways set the template for almost all who followed.

Bela Lugosi, the original and for many still the greatest Dracula, pioneered this type of Vampire in the original Universal version of Stokers novel. Lugosi’s Dracula was an alluring, attractive, icey character in contrast to the more savage, powerful monster from the book.

Lugosi even became something of a sex symbol for his role (at one point he received more fan mail than even Clark Gable!) This would of course twist the public’s perception of Vampires into being more attractive creatures in popular culture, setting the stage for later more romantic Vampires.

For the next few decades almost all film Vampires would similarly be portrayed as more hypnotic, otherworldly, charming characters.

Gradually however these types of Vampire characters would be phased out following the onset of the Hammer movies.

Hammer focused more on the Vampires physical powers, such as their superhuman strength, and the horror around Vampires was more visceral and explicit. Rather than watch Vampires creep about in the shadows, and hypnotise people, we would see them burst into a room with blood stained fangs, grabbing people by the throat and tossing them across rooms.

As the decades rolled on, later Vampire films and television series would expand on what Hammer started to the point where we have modern day Vampires jumping hundreds of feet in the air and ripping people to pieces.

You can see how Vampires physical prowess and powers overall have changed over the years.

This brilliant sketch from Armstrong and Miller pokes fun at how much Vampires have changed over the years.

Whilst this type of character may be seen by some as old fashioned, it still nevertheless set the template for romantic and appealing Vampires in general in popular culture, whilst the image of Dracula is still largely Bela Lugosi too.

The black widows peak, the long flowing cape, the penguin suit, and the thick Hungarian accent all come from Lugosi, rather than the Stokers novel.

Occasionally writers may return to this model such as the Buffyverse version of Dracula.

8/ Jiang Shi (Chinese, Hopping Vampires)

Originator: Chinese Mythology

Other Notable Examples: The Legend of the 7 Golden Vampires, Mr Vampire, Mr Vampire 2, Encounters of the Spooky Kind, Mr Vampire 4, Vampire vs Vampire.

The Jiang Shi were originally completely different monsters to Vampires. They were undead monsters from Chinese mythology who fed on the souls of their victims. They were as single minded as animals, never spoke, only roared and had hideous rotting faces. Myths about the Jiang Shi developed entirely independently from European myths about Vampires, but when Western stories about Vampires began to make their way to China, then the Chinese began to associate European Vampires with their own Jiang Shi. Dracula was even referred to as a blood sucking Jiang Shi in the Chinese translation.

It would be in the 1970s Hammer movie, The Legend of the 7 Golden Vampires that the Jiang Shi would actually be made into Chinese Vampires for the first time. The Jiang Shi in Legend of the 7 Golden Vampires were as single minded as animals like the Jiang Shi from myths. They also had hideous rotting faces, and whilst they drank blood, they could also steal people’s souls and turn them into mindless zombie servants (who like the Jiang Shi from myths would hop up and down when they moved.)

The Jiang Shi make their film debut.

Whilst The Legend of the 7 Golden Vampires did introduce the Jiang Shi to film audiences and gave them more Western Vampire traits such as a thirst for human blood. It would later be the Hong Kong Mr Vampire film series that would cement their place as a classic movie monster around the world.

Starring the late Lam Ching Ying, the Mr Vampire film series led to a massive horror boom in the East, comparable to the one that Universal kicked off in America in the 30s and 40s, and that Hammer studios kicked off in Britain in the 50s and 60s.

The Jiang Shi from the Mr Vampire movies were referred to as both Jiang Shi and Vampires, and they had a number of traits of both European Vampires and Jiang Shi. They feed on blood like European Vampires rather than souls, but they have hideous rotting faces, are as single minded as animals, and move by hopping up and down like the Jiang Shi of myths.

Their weaknesses are also a combination of European Vampires and Jiang Shi. They are killed by piercing the heart like European Vampires, but are vulnerable to Chinese herbs and enchantments like the Jiang Shi.

The Mr Vampire films were hugely successful in China and Hong Kong, and they would develop a very strong cult following in the west too. From that point on the Jiang Shi have not only appeared in some Western works such as Kim Newman’s Anno Dracula series, but they are now almost always referred to as Chinese Vampires.

The Jiang Shi are almost always depicted as villains, but the most common heroic Jiang Shi in films is a friendly Jiang Shi child. This character will often be presented in a more comical way. He will be a sweet friendly boy who likes using his Vampire powers to play harmless tricks on people. The first example of this type of character was Wee Okay Boy in Mr Vampire 2.

Whilst there are myths about undead Demons that feed on people to survive in almost every culture. the Jiang Shi have undoubtedly become the most famous around the world, alongside the classic Western Vampire and Zombie.

9/ Degenerate, Aristocratic Vampires (British Vampires)

Originator: Christopher Lee’s Dracula

Other Notable Examples: Baron Meinster (The Brides of Dracula), Doctor Ravna (Kiss of the Vampire), Count Karnstein (Twins of Evil), Count Mitterhouse (Vampire Circus), Dracula (Marvel Version)

This Vampire is most commonly found in British fiction, and in many ways they could be considered British Vampires, the same way the Jiang Shi are Chinese Vampires.

These characters will have been aristocrats in life, and probably cruel, horrible people before they became Vampires too. In contrast to the Lugosi Dracula who lives in crumbling castles, these Vampires will live in polished, luxurious castles, filled with beautiful art and fancy furniture. He will be pompous, arrogant and dress in fancy over the top clothes. He will also be a colossal pervert, with his crimes almost always being sexual in nature.

Everyone in the local village will know this character is a Vampire, and they will want to kill him, but will be too terrified to even lift a finger against him. It won’t just be because of his power as a Vampire but his influence as nobleman or a count.

The Vampire will be aware of this and will always taunt and laugh at the villagers for being pathetic cowards.

Whenever the villagers do finally rise up and strike out against him, then it will end very badly for them. We see this in Scars of Dracula of course when the villagers attempt to burn Dracula’s castle, and in response Dracula sends bats to slaughter all of the women and children in the village who are hiding in a church, and in Vampire Circus, where Count Mitterhouse after being staked, curses the villagers that they will all die, their children will die and their town will die (all of which comes true!)

This character grew out of Hammer’s habit of portraying their villains as vicious members of the upper class. In movies like Taste the Blood of Dracula, The Curse of the Werewolf, and Frankenstein Created Women, the monsters are all created by spoiled rich brats, land owners and lords.

These Vampire characters continued this tradition brilliantly and served as the perfect metaphors for corruption and decadence at the top of society.

10/ Fists and Fangs, Thug Vampires (American Vampires)

Originator: The Lost Boys

Other Notable Examples: Buffy the Vampire Slayer, Blade, Supernatural

The opposite to the British, Aristocratic, pompous Vampire. This Vampire will live in crappy, rundown, abandoned warehouses, mouldy old crypts, or even in the sewers.

They will grab people off the streets at night and kill them, though they may also take them back to their lair and torture them for their own amusement.

These Vampires can look human but will almost always revert to a more monstrous form when feeding. They will tend to dress in more toned down, normal clothes like leather coats and they will talk in a more casual, common way.

These Vampires are used as a metaphor for thugs, street predators, rapists and gang violence. A classic example of this can be found in the Angel Episode, Warzone.

Here the fight between Vampire hunter Charles Gunn’s team and a local pack of Vampires is written as being more like a gang war than anything else. When the Vampires all pile on top of Charles Gunn’s sister to feed on her, its treated almost like a gang rape.

Just as the British Vampires were the perfect metaphors for corruption at the top of society, these Vampires were excellent metaphors for the worst kind of scum at the bottom of society.

These Vampires only tend to pop up in American series like Blade, Supernatural and Buffy. Thus just as the Jiang Shi are the Chinese Vampires, the perverted, corrupt Aristocrats are British Vampires, then these guys can really be seen as the modern day American Vampire.

11/ Vampires Who Can Make Their Blood Into Weapons (Asian Vampires)

Originator: Vampire Girl vs Frankenstein Girl

Other Notable Examples: Vampire Detective

These Vampires appear to be quite common in Asian films and television series such as the Japanese film Vampire Girl vs Frankenstein Girl and the South Korean television series, Vampire Detective. They have the power when to turn their blood in weapons such as axes, swords or projectiles that can cut their victims to pieces.

These Vampires however are almost always presented as the protagonists, as after all a Vampire this powerful would be a lot harder for Buffy, Peter Cushing or Blade to kill.

These Vampires will tend to be somewhat more surreal, over the top and even somewhat comical compared to other Vampires.

Asian Vampires are fucking awesome!

12/ Ugly, Freak, Outcast Vampire

Originator: Count Orlock (Nosferatu)

Other Notable Examples: The Master (Buffy), Count Orlock (Klaus Kinski version), Nomak (Blade 2), Kurt Barlow (Salem’s Lot)

This Vampire character is utterly repulsive to look at. He will be bald headed, have rat like teeth, pale skin, and long, dirty talons.

He will usually be an evil Vampire that despises humanity and is not presented as being romantic on the surface, but underneath unlike the Vampire Supremacist he might be full of self loathing and guilt. He will only be so evil, and twisted because he has been rejected for ever his appearance, and knows he will never fit in.

This Vampire will show us how horrible it actually is being a Vampire. In a lot of other works Vampires can end up being more of a teenage fantasy. Being a Vampire can even look quite cool. You get super powers, never get sick, never age. Yes there’s the whole bloodlust thing, but even that often looks quite easy to control in certain films and tv series.

This type of Vampire however shows a different side to the myth. Here when you become a Vampire, you end up as an ugly, foul smelling, rotting, beast, condemned to spend eternity alone.

These monsters are both terrifying and pitiful, and ironically despite their more demonic appearance, in some ways they can end up having the most complex personalities of any Vampire villain.

In many ways this is the second most popular image of Vampires in popular culture after the attractive, alluring Vampire. In some ways, all Vampire characters can broadly be split into these two categories.

13/ Monster God

Originator: The Old Ones (HP Lovecraft)

Other Notable Examples: The Old Ones (Buffy and Angel), Lucifer (Supernatural), Eve (Supernatural), Captain Hatch (Being Human),  La Magra (Blade) The Dark Ones (Ash vs Evil Dead)

This character is an ancient monster responsible for creating the main race of monsters in the franchise, be they Vampires or Demons. He will have been sealed away in another universe many centuries ago and passed into legend, even among the supernatural.

Still the Vampires and Demons (who he may have created as a way of escaping) will naturally worship him, and seek to bring him back to our world so he can overrun humanity and allow the Vampires or Demons to finally rule the earth.

The great irony is that this monster will often not care for the Vampires or Demons he created. He will view them as nothing but cannon fodder at best, and may even be disgusted at them for some reason, and ultimately seek to wipe them out once they have fulfilled their use.

The Old Ones from Buffy followed this template beat for beat. They were the original Demons who ruled the earth and were far more powerful than any other breed. They created Vampires, after feeding on and infecting a human, who became the first Vampire.

Many Vampires want to bring the Old Ones (who were banished to another universe before human history began) back, including the main season 1 villain The Master, who in the season finale manages to open the Hellmouth and briefly bring the Old Ones back into our world.

The irony is however that the Old Ones are shown to regard Vampires as nothing but half breeds, and look down on the greatly as seen with the Old One Illyria. Had the Master succeeded in bringing the Old Ones back it probably would have spelled trouble for him and his kind, as they would have been Z-class citizens at best in the world the Old Ones would have created.

In Supernatural we see a similar relationship between Lucifer and the Demons (the main antagonists of the series.)

Lucifer created Demons in Supernatural before he was sealed away in hell. Azazel and many other Demons not only view him as their god, but seek to free Lucifer from his cage.

Unfortunately for Azazel and the rest of his Demons, Lucifer actually despises them. He does just regard them as cannon fodder to use in his war against the Angels, but actually despises them. Lucifer in Supernatural after all hates humanity because he views them as corrupt and decadent. Imagine what he must think of his own children!

Unlike the Vampires in Buffy however, at least one Demon in Supernatural, Crowley comes to this conclusion and tries to help Sam and Dean stop Lucifer, simply to save his own skin.

CROWLEY: I want you to take this thing to Lucifer and empty it into his face.

DEAN: Uh okay and why exactly would you want the Devil dead?

CROWLEY: Survival. Lucifer isn’t a Demon.  He’s an Angel remember. An Angel famous for his hatred of humankind. To him, you’re just filthy little bags of pus. If that’s the way he feels about you. What can he think about us.

SAM: But he created you?

CROWLEY: To him we’re just servants. Cannon fodder. If Lucifer manages to exterminate humankind, we’re next.

In Being Human, Captain Hatch (The Devil) similarly created Vampires, Ghosts and Werewolves and is shown to regard all of them as nothing more than fodder and a food supply.

Finally Eve in Supernatural is similarly the mother of all monsters, though unlike Lucifer she does actually care about her “children”. Still she fulfils the same basic idea of being a monster God who was sealed away for many centuries only to be brought back by her monster followers in the hopes that she can create a world where they will rule.

The original monster Gods were of course the Old Ones created by HP Lovecraft. The Old Ones were ancient monster gods who were banished from this universe and imprisoned centuries ago, with many of their servants wanting to bring them back.

Not only did the Old Ones serve as the inspiration for other primordial monsters, but other franchises such as Buffy and The Evil Dead would actually utilise Lovecraft’s Old Ones themselves.

3/ Other Supernatural Creatures

1/ Other Vampire Breeds

Originator: Hammer Films

Other Notable Examples: Marvel Comics, American Vampire, Fright Night 2011

Some pieces of Vampire fiction will play around with the idea of there being several different Vampire species.

There are many advantages to this of course. First and foremost it can allow you to to do various different types of stories, and it can also allow you to explore different Vampire myths too. As we have explored almost every culture appears to have its own myths about undead monsters or demons that exist by feeding on the blood or life essence of people. In India its the Vetala, in China its the Jianghsi, and in Europe its Vampires, but they are all essentially the same. Monsters who were once people, who have returned from the grave, who now feed on blood or at least the life force of the living, can only be killed by certain rituals, and are weak against certain herbs, foods and religious symbols that are sacred to their culture.

When you have multiple Vampire breeds you can obviously incorporate aspects of all of these wonderful myths and stories about Vampires from all over the world, and throughout history into your work, and it can also be quite interesting seeing how these different Vampire breeds view each other. For instance maybe the British style Vampires would view the American and Chinese Vampires as nothing more than runts, whilst the American Vampires may view the British Vampires as degenerate, stuck up, pompous cowards.

At the same time you can also show us how certain Vampire hunters might only be useful against certain breeds. For instance Buffy and Van Helsing wouldn’t know how to deal with a Jiang Shi that would be immune to all of their usual anti Vampire repellents, whilst the reverse would be true for Master Kau going up against a Western Vampire.

The Hammer movies were really the first to explore this wonderful idea. In The Brides of Dracula, the second entry in their Dracula series, Van Helsing reveals that there are many different types of Vampire and that the Vampire he is facing, Baron Meinster is of a different breed to Dracula’s.

Meinsters breed of Vampire is able to shapeshift and has greater hypnotic powers than Dracula’s, but they also lack super strength which Dracula’s obviously had.

In the later Hammer film Captain Kronos Vampire Hunter, Professor Grost reveals that there are as many species of Vampire as there are birds of prey, and the Vampire in question is shown to drain its victims youth rather than blood.

Finally The Legend of the 7 Golden Vampires, the final Hammer Dracula film, sees Cushing’s Van Helsing travel to China where he battles Chinese Vampires who just like the myths are as single minded as animals, have hideous rotting faces, and can steal people’s souls.

Fittingly in the later Chinese horror movie, Vampire vs Vampire, the east’s greatest Vampire killer, Master Kau would come up against Dracula himself.

Vampire vs Vampire was actually intended to be an unofficial sequel to The Legend of the 7 Golden Vampires, though Dracula is obviously played by a different actor.

Just as Cushing’s Van Helsing was inexperienced in dealing with Chinese Vampires, then Kau at first struggles to deal with Dracula as all of his usual anti Jiangshi weapons don’t work on the Count.

Marvel comics meanwhile would also play with the idea of there being various different Vampire breeds too, as would the recent comic book American Vampire written by Scott Snyder and Stephen King.

The idea of there being multiple breeds of Vampires is yet another idea that Hammer movies pioneered in Vampire fiction.

2/ Second, Feral, More Powerful Vampire

Originator: Nelapsi (mythology)

Other Notable Examples: Reapers (Blade 2), Turok Han (Buffy), Apocalypse World Vampires (Supernatural)

Obviously this is a similar idea to there being more than one species of Vampire, but this is a little bit more specific. This Vampire is the only other species of Vampire to the main one, and it is far more powerful, vicious and all around dangerous than the regular kind of Vampire.

It will also be far more hideous and monstrous looking than regular Vampires and will be as single minded as an animal, living for nothing but the kill. Regular Vampires will live in fear of it, and it might even kill and feed on them regularly. It will essentially be the Vampires, Vampire.

The Nelapsi were the first such examples of a second race of more dangerous Vampires. They originated in Slovakian mythology and were said to be so powerful that they could kill you with just a glare. They also could not be killed and could only be prevented from rising at night through certain rituals.

Whilst the Nelapsi have gone on to appear in a few pieces of Vampire fiction, sadly the second, more powerful race of Vampires has not gone on to be featured quite as prominently in other pieces of Vampire fiction. I think its a great idea personally, but still it hasn’t caught on quite as much as some other tropes.

Still both Buffy and Blade featured Vampires that Vampires fear. In Blade there were the Reapers, an attempt to create the ultimate Vampire, which instead created a mutant race called the Reapers who fed on both human and Vampire blood. The Reapers entered into popular culture for their famous, 3 way leech like jaws.

The Turok Han in Buffy meanwhile were described as being to Vampires, what Neanderthals were to humans, an ancient and entirely separate race.

Both the Turok Han and the Reapers also looked quite similar too. Both had bald heads, monstrous features, both never spoke, only roared, and both had similar powers, with both having a bone plate over their chests which protected them from staking for instance.

The Nelapsi and the Reapers and the Turok Han are such a simple idea, which is probably why the are so appealing. What are the monsters that keep monsters awake at night?

3/ Monster Supremacists 

Originator: The Scourge (Angel)

Other Notable Examples: Leviathans (Supernatural), Illyria (Angel), Glory (Buffy)

Similar to the Vampire Supremacist, this character will believe that his race are the chosen people, destined to rule the world and will seek to make humans into nothing more than cattle for his people, or wipe them out completely.

The difference is that he will be an original monster, and furthermore he will not only regard all of the classic monsters like Vampires, Werewolves and Demons to be lesser than his people, but he will regard them as inferior to humans as well. He may even plan on wiping them out, which will force humans and Vampires and Demons to enter into a very uncomfortable alliance with one another to bring him down.

The Scourge from Angel and the Leviathans from Supernatural both follow this template perfectly. The Leviathans are ancient monsters, older than Angels themselves. They are shown to view humans as nothing but cattle, but in quite an interesting twist they appear to view Demons and Vampires as being even less deserving of respect than humanity and memorably chew out both the leader of the Demons (Crowley) and Vampires (the Alpha Vampire) when they both attempt to make alliances with the Leviathans.

The Scourge meanwhile are pureblood Demons who despise any Demon species that is tainted with humanity and plan to wipe them all out (they regard Vampires as the lowest of all half breeds.)

Illyria meanwhile along with Glory from Buffy aren’t so much a monster supremacists like the Leviathans and the Scourge in that unlike either of those two examples, neither wants to kill other monsters that they regard as inferior per se. However they still demean them, have no quams about killing them, and regard them as filthy and repulsive.

Glory is shown to take a particular sadistic delight in torturing the Vampire Spike.

This monster can help flesh out the supernatural world the main characters live in as we can see how there is a hierarchy in the Demon world just like the animal kingdom and the monsters we fear the most like Demons, Vampires and Witches are ironically quite low on the pecking order.

Its also quite a nice irony to see Vampires, Witches and Demons that always seem so terrifying and powerful to us, get victimised and persecuted, like Spike and Tara ( a Witch) being tortured by Glory, or Crowley being helpless against the Leviathans who reject him as a bottom feeding mutation. It just goes to show you how there is always a bigger bully out there.

Image result for Glory tortures SpikeRelated image

Even Christopher Lee and Anjelica Huston would be small fish compared to Glory. 

4/ Werewolves

Image result for Werewolves

Originator: Return of the Vampire.

Other Notable Examples: Underworld Film Series, Being Human series, Van Helsing, True Blood, The Vampire Diaries, Twilight

Werewolves are the favourite sparring partners of Vampires in popular culture. There are almost too many examples to list across all mediums, film, television and video games.

The irony is however that its really a recent thing in comparison to how long Vampires and Werewolf myths have been around.  It only really begun in the 30s with Bela Lugosi, the most iconic (and for many still the greatest) Dracula who fought a Werewolf enemy in The Return of the Vampire. It wouldn’t be until the Underworld film series however that the trope became fully solidified in popular culture.

Vampires vs Werewolves has been used as a metaphor for everything from the Nazis persecution of the Jews such as in Being Human where we see Vampires in the bad future round Werewolves up into concentration camps, torture them, and brand them with L for Lycan. To even just rival football teams, such as in the comedy “What We Do In The Shadows” where the Vampire/Werewolf feud is presented as being more like mods and rockers, rangers vs celtic, IE a tribal, petty thing, than a full blown race war.

Still despite this, there are certain tropes that can be found in Vampire vs Werewolf stories. There will often be a love triangle between a Werewolf, a Vampire and a human woman. The Vampires will also have the advantage in terms of numbers and influence. It makes sense after all as Vampires have the power all of the time, whilst Werewolves usually only change on the full moon.

Vampires may even have driven Werewolves to near extinction, such as in Twilight and The Vampire Diaries and will often demean them in various ways (which can often lead to a Werewolf who becomes a badass Vampire hunter who kills scores of Vampires.)

Of course Werewolves and Vampires are often put together simply because they are also the two most popular monsters. Still over the years a number of writers have found a way to give the two monsters a very special relationship.

After Werewolves, Vampires tend to get paired with Demons the most. Vampires and Demons tend to more just regard each other with contempt however in things like Buffy and Charmed, rather than be sworn enemies like Vampires and Werewolves. Vampires and Demons may even in some instances be shown to be friendly with each other, such as in Angel, where the main Vampire hero works alongside several Demons.

Zombies meanwhile may often be paired with Vampires, but they will usually be their pets that they feed people too such as in the Blade film series or Legend of the 7 Golden Vampires.

Vampires and Ghosts meanwhile aren’t brought together that often in western popular culture (though there are a few exceptions such as Being Human and The Vampire Diaries of course.)

In Chinese horror movies however, the reverse is true, and Vampires and Ghosts appear together in many films. This is probably because Ghosts are far more popular film monsters than Werewolves in the east.

Rather than simply pit Vampires against Ghosts however, Chinese horror movies will often contrast their two most popular monsters by depicting them in entirely the opposite way, rather than simply have them fight.

The Ghosts in Chinese horror movies, are often female, and are presented as sympathetic characters. In the original Mr Vampire film for instance there is the Ghost of young woman who falls in love with Master Kau’s assistant after he lays a tribute by her grave. In life the woman had no family or friends. No one even came to her funeral, or notices her passing, except for Kau’s assistant which causes her to follow him home, where she eventually falls in love with him after seeing what a hero he is.

Unfortunately however because she is a Ghost, whenever they are together she ends up draining his life force, and Kau is eventually forced to chase her away. Even Kau however is shown to take pity on the lonely Ghost and ultimately spares her.

Spooky Encounters, a crossover film with Sammo Hungs Fatman character and Master Kau features a sympathetic Ghost lady who helps our main heroes defeat the evil Wizard.

The classic A Chinese Ghost Story film series meanwhile also revolves around a tragic female Ghost character, as does of course Rouge.

The Vampires meanwhile as we have been over in Chinese horror movies are almost always male, always presented as being utterly hideous in appearance, but as single minded as animals and have no desires except to maim and kill.

Thus Vampires and Ghosts in Chinese films serve as quite interesting foils for each others. The Ghosts are almost always beautiful, alluring and likable, whilst the Vampires are always scary, and monstrous. The Ghosts show Master Kau’s crusade as not being quite so black and white, as whilst he does ultimately have to exorcise them. Ghosts are not actually evil. They can’t help the fact that they will drain the life out of any human they get close too, so Master Kau can come across as cold and unfeeling when dispatching them. He is in a way murdering innocent people, but he has no choice as if he doesn’t then more innocents will die.

With the Vampires however it is of course completely black and white when Kau slays them, and we never doubt that is hero when he goes up against a roaring, bloodthirsty, ugly Vampire.

In some ways the first Mr Vampire movie almost feels like two different horror films merged together because of how it depicts its two main monsters. One a tragic, moving supernatural love story about a lonely Ghost, the other a straight forward, action packed Vampire flick.

Interestingly enough however, despite being two of the most popular supernatural creatures, Vampires vs Witches doesn’t tend to be a very popular pairing in any part of the world. They have appeared together in a few prominent works, like in True Blood, The Vampire Diaries and Buffy, but even then in a lot of cases they don’t have much interaction. Sometimes Vampires are depicted as being immune or at least having a greater immunity to a Witches Magic unlike other supernatural creatures.

We see this in Charmed, Sabrina the Teenage Witch and Buffy (where Vampires are immune to some, but not all magics, such as Glory’s spell that makes people forget she and Ben are the same.)

It would be interesting to see Vampires pitted against other types of supernatural creatures in the future.

Settings

Monster Club

Originator: Monster Club (R Chetwynd Hayes novel)

Other Notable Examples: Caritas (Angel) Willies Bar (Buffy) LL Secundo (Supernatural) Blood Clubs (Blade film series), Titty Twister (From Dusk Till Dawn)

As its name would suggest, this type of setting is a club, or a bar where monsters of different kinds go to relax, enjoy a pint of blood and socialise with other abominations.

It was first featured in R Chetwynd Hayes novel The Monster Club and the subsequent 1980s film adaptation starring Vincent Price and John Carradine.

The premise sees a friendly Vampire named Erasmus invite a horror author to the local Monster club where he tells him three stories about monsters for inspiration.

The stories include one about a Shadmock ( a monster hybrid) who is used by two scam artists with tragic results, another about a Vampire family, and finally one about a horror movie director who ends up trapped in a town called Loughville, that is populated by flesh eating Ghouls.

I must admit the last story about the Ghouls terrified me as a child. In fact I’d go as far as to say that this sequence and Erica being trapped in the painting terrified me more than any other two scenes in a horror movie.

In this scene below the film director manages to escape to a small church where he finds the skeleton of a priest, as well as his diary which details how Loughville was overrun by the Ghouls.

Ironically it was priests fault. He found the first Ghoul in a graveyard, and whilst the rest of the villagers wanted to kill it, he hoped that he could rehabilitate the monster. Despite his efforts however, he later found the monster feeding on the remains of one of the villagers it had killed and chased it away, but by that point it was too late, and the monster returned with more of its kind to take control of the village.

The Priest ended up trapped in the church where the monsters couldn’t enter. He was forced to listen as they tore everyone else in the village apart, before he eventually died of starvation.

The reason these two scenes scared me was because of the idea behind them. Blood and gore is horrible to look at, but a horrible idea sticks in your head for longer and keeps you up at night.

 

I’d always be scared when I went to bed that I would wake up in Loughville in the Church and hear the howls of the ravenous Ghouls outside!

Whilst the Ghoul story was terrifying, the actual Monster Club itself was portrayed in a very comical way with the monsters all being very friendly. Vincent Price’s Vampire character is by far and away one of the most likable monsters in anything, and at the end of the film, he even manages to convince the Club to include his human friend as a member.

In both Buffy and Angel we’d see two more Monster Clubs, Carritas and Willies. Much like Wyndham’s Monster Club, these were both portrayed in a more comical way, with the monsters singing Karoke and having a fun time.

Supernatural also featured a monster club in what was intended to be the pilot episode for its first spin off, bloodlines.

The Blade film series featured blood clubs where Vampires would gather together and literally drip blood from their ceilings. They’d often bring at least one live person in there to torture and kill for fun.

Obviously unlike Caritas, or Price’s Monster Club this was a far more terrifying depiction of the idea.

Finally the monster club would be the premise for Quentin Tarrantino and Robert Rodriquez Vampire trilogy, From Dusk Till Dawn which features a bar run by Vampires that lures truckers and passers by in to feed on.

I’d definitely rather visit this Monster Club.

The Monster Club is a fun idea. I think overall it tends to lend itself better to comedy. Even the From Dusk Till Dawn movies have a certain tongue in cheek aspect to them (much like the Evil Dead films.)

Still overall it can be adapted for moments of genuine horror too. Its always a frightening idea when you are alone with someone who is secretly a monster. Now imagine being in a room full of monsters!

Anti Paranormal Organisation That Goes Evil

Originator: The Initiative (Buffy)

Other Notable Examples: The British Men of Letters (Supernatural) Men in Grey (Being Human) Kemp and Lucy Jaggat’s organisation (Being Human)

These characters will be part of a secret underground military organisation who not only hunt Vampires, Demons, and monsters, but capture and experiment on them. They may even try and cure them, though often these cures will be brutal and even possibly lethal. (Spikes chip, the attempts at curing Werewolves in Being Human.)

There will often be someone close to the hero who works for this organisation who is able to seduce the main character into working for them, or going along with them (Riley, Jaggat).

However it will become apparent that this company is disrupting the natural order and has sinister plans to use the monsters powers for their own benefit. They will almost always unleash a far worse threat (Adam, Captain Hatch, Mitchell and Daisy’s bloody rampage in revenge.) Eventually this organisation will be torn apart by the very monsters they hoped to contain in a spectacular way.

This type of setting tends to be a bit more controversial than others. The Initiative for instance is generally regarded as one of the weaker arcs in Buffy, whilst similarly season 2 of Being Human is often regarded as the weakest series.

I think a lot of fans tend to see this as a “humans are the real monsters” type of a story, which if not done right can end up as the most terrible cliche.

Personally thought I think it can be quite an interesting to see how the military can attempt to utilise magic and the paranormal the same way would any natural resource, only to learn the hard way how out of their league they are.

These stories can also I feel reinforce the threat of creatures like Vampires and Demons, as the failure of organisations like the Initiative and The Men in Grey, who have all the resources and weapons in the world, but still not only fall to the monsters, but also usually end up playing into a far worse evils hands, shows the audience how these monsters really cannot ever be underestimated.

Vampire Town

Originator: Vault of Horror

Other Notable Examples: Sunnydale (Wishverse version, Buffy), Loughville, (Monster Club), Purgatory (Sundown: The Vampire in Retreat), 

An extension from the Monster Club idea. What’s scarier than one Vampire? A club of Vampires. What’s scarier than that? A whole town, maybe even city of Vampires!

Possibly the first example of this trope in action was the Amicus movie Vault of Horror. Vault of Horror, like many of Amicus’ best movies was an anthology piece, and the first story, called Midnight Mess saw a corrupt man named Harold Rogers murder his sister, Donna who had recently moved to a mysterious town in the middle of nowhere, in order to get their father’s inheritance.

When Harold explores the town, he is warned by the locals to get in before the sun goes down. Foolishly ignoring their warning, he then settles down in a local restaurant only to discover that it is run by Vampires when they ask him how he likes his blood clots!

The Vampires then string him up, and Harold discovers that Donna is in fact the leader of the Vampires and she personally cuts his throat open.

Like all of the stories in Vault of Horror, Midnight Mess was a great mixture of comedy and genuine horror. In the final scene its somewhat humorous watching a room full of posh Vampires talk about how blood is always the nicest when its fresh, but the final shot of Harold’s twitching corpse, strung up like an animal in a slaughter house, whilst his own sister drinks a glass of his blood, is truly disturbing.

Amicus would play withthis trope again in their final horror movie, The Monster Club with the town of Loughvile. Loughvile as we have explored was a town that was overrun by Ghouls.

Its not quite a Vampire town, but its obviously still a similar idea. A remote place where people are literally nothing more than cattle for a race of hideous, undead monsters that prey on humans.

Loughville for reasons I’ve explored terrified me the most growing up. Unlike the Vampire town in Vault of Horror, no people lived in Loughville, except for a Ghoul/human hybrid, called a humgoo.

The humgoo character named Luna is a young girl who is forced to help lure passing travellers into the monsters village. She is shown to befriend the film director however and helps him escape to the church for which the Ghouls attempt to devour her.

She later attempts to flee the village with the director, only to be killed by the Ghouls. In contrast to Harold, the Humgoo is a sympathetic and tragic character. She doesn’t want to hurt anyone, is constantly mistreated and abused by the Ghouls (including her own father) and yearns to escape to the city, only to be murdered seconds before she is about to finally escape her nightmarish existence.

In the Buffy the Vampire Slayer episode The Wish, we are introduced to an alternate version of Sunnydale, when Cordelia Chase inadvertantly makes a wish to the vengeance Demon Anyanka that Buffy had never come to Sunnydale.

This version of the famous town is not too dissimilar to the Vampire town in Vault of Horror. Unlike Loughville people still live here, but they obviously don’t go out after dark, and live very frightened, miserable lives.

The Vampires meanwhile just like those in Vault of Horror don’t just bite people, but drain their blood out through machines and serve them in glasses and cups!

Cordelia can be seen to occupy the role of Harold from Vault of Horror in that she is the ignorant outsider who doesn’t know why everything is so strange, and later discovers that her rivals are now Vampires. There’s even a similar scene where Cordelia is warned to get in before the sun goes down just like Harold.

Finally another notable example of this trope is the underrated cult classic Sundown: The Vampire in Retreat, which blends the Vampire and western genres together.

Starring Bruce Campbell and David Carradine this movie flips the Vampire town idea on its head by having the Vampires all be reformed, well most of them are. The film revolves around a civil war between the good guy Vampires (led by a rare heroic version of Dracula.) And those who don’t want to give up their old way of life.

One thing that the Vampire town stories all seem to have in common is bleak endings. The Wish, Vault of Horror and The Ghoul story from Monster Club all end with the main characters being killed (though Giles is able to undo the Wishverse, and Harold was a pretty horrible guy, so you don’t care that he ends up dying.)

Really I don’t think you can have a character escape a Vampire town, as it just ends up undermining their menace too much.

Post Apocalyptic Vampire Ruled Earth

Originator: I Am Legend

Other Notable Examples:  Being Human (Season 4), Anno Dracula

The final extension from the Monster club idea. You can’t really top a planet of Vampires. This idea was originally conceived by classic horror and sci fi author Richard Matheison for his novel I Am Legend.

Its no exaggeration to say that I Am Legend is one of the most important horror novels ever written. Its up there with Dracula and Frankenstein in terms of helping to reshape the genre.

I Am Legend marked the first time that Vampirism was explained away through rational, scientific means, rather than supernatural. It also marked the first time that we saw the last human surviving in a world now populated by undead monsters that wanted to eat him!

Not only would it inspire 3 film versions, but it also inspired George A Romero, with his iconic Dead trilogy, Night of the Living Dead, Dawn of the Dead and Day of the Dead. All 3 films revolved around a similar premise of the last people on earth having to survive against hordes of undead monsters.

The only difference was that Romero called his monsters Zombies (and Ghouls in the original Night of the Living Dead) and had them eat their victims flesh instead of just drinking their blood. He also made them less intelligent too, but essentially the Zombies in the Romero movies were the same as Vampires in Matheison’s I Am Legend.

Both classic undead monsters, who are normally supernatural, but are now created as a result of science gone wrong. Both are horrible, shuffling, rotting corpses who physically are very weak and easy to overpower, but are scary because they move in packs.

Of course as we know the Romero films would spawn countless imitators, influence many other major franchises such as Resident Evil and The Walking Dead, and propel the Zombie to being one of the major movie monsters. There were Zombie movies before the Romero films of course, but they were to Zombies what Jurassic Park was for Velociraptors, in that they propelled them to being a monster everyone would know.

Essentially the modern Zombie genre grew out of a Vampire story. Its funny when you remember this article where Charlie Brooker said that Vampires were the worst monsters and Zombies were the only good ones.

Charlie Brooker Hates Vampires

“Real serial killers are so mental they can scarcely tie their own shoelaces. So bollocks to the screen version. And don’t even think about mentioning vampires, with their gothic pretension and crappy teeth. They’re annoying, not scary. Fuck vampires. But zombies — now there’s a threat I can relate to. Zombies are the misanthrope’s monster of choice. They represent fear and disgust of our fellow man. The anonymous animal masses. The dumb, shuffling crowd. Them — the public. They’re awesomely stupid. They have an IQ of one. Proper zombies can’t operate a door handle or climb a ladder. Toss one a Rubik’s Cube and it’ll bounce off his thick, moaning head. All they do is walk around aimlessly, pausing occasionally to eat survivors. The idea for the show came about one night in 2004 while I was watching 24. Jack Bauer was performing a tracheotomy on a terrorist with a splintered peg or something, and another terrorist came running through the door. ‘I’m enjoying this,’ I thought, ‘but these terrorists are just ridiculous. They’re like waves of Space Invaders. They might as well be zombies.’”

Oh the irony! The very Zombie genre he loves wouldn’t exist without a Vampire story. The Zombies he claims are the best monsters begun as just a variant of Vampire!

Of course while the modern Zombie has taken over the post apocalyptic genre, there are still a few examples of a Vampire apocalypse such as in Being Human’s 4th series.

Conclusion

As you can see there are a lot of tropes and ideas that pop up in Vampire fiction from time to time. Again nothing wrong with that, as long as you can provide a new and interesting take on it.

Of course it could be a challenge for a writer to try and write a Vampire story without ANY of these characters or ideas. Or alternatively, you could try and write a story that incorporates all of these characters and ideas which hasn’t actually been done yet.

Buffy and Angel I think incorporate the largest amount, but even then they leave out quite a few major tropes such as the Vampires vs Werewolves feud.

Thanks for reading.